Creative Industries

Contracts between Art and Commerce

Richard E. Caves

    Preface

    Introduction: Economic Properties of Creative Activities

    Part I: Supplying Simple Creative Goods

    1. Artists as Apprentices

    2. Artists, Dealers, and Deals

    3. Artist and Gatekeeper: Trade Books, Popular Records, and Classical Music

    4. Artists, Starving and Well-Fed

    Part II: Supplying Complex Creative Goods

    5. The Hollywood Studios Disintegrate

    6. Contracts for Creative Products: Films and Plays

    7. Guilds, Unions, and Faulty Contracts

    8. The Nurture of Ten-Ton Turkeys

    9. Creative Products Go to Market: Books and Records

    10. Creative Products Go to Market: Films

    Part III: Demand for Creative Goods

    11. Buffs, Buzz, and Educated Tastes

    12. Consumers, Critics, and Certifiers

    13. Innovation, Fads, and Fashions

    Part IV: Cost Conundrums

    14. Covering High Fixed Costs

    15. Donor-Supported Nonprofit Organizations in the Performing Arts

    16. Cost Disease and Its Analgesics

    Part V: The Test of Time

    17. Durable Creative Goods: Rents Pursued through Time and Space

    18. Payola

    19. Organizing to Collect Rents: Music Copyrights

    20. Entertainment Conglomerates and the Quest for Rents

    21. Filtering and Storing Durable Creative Goods: Visual Arts

    22. New versus Old Art: Boulez Meets Beethoven

    Epilogue

    Notes

    Index

  • Cover: Creative Industries

Richard E. Caves is Nathaniel Ropes Research Professor of Political Economy at Harvard University.