<?xml version="1.0" encoding="UTF-8"?>
<mods xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns="http://www.loc.gov/mods/v3" version="3.1" xsi:schemaLocation="http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-1.xsd">
  <titleInfo>
    <title>Creative industries</title>
    <subTitle>contracts between art and commerce</subTitle>
  </titleInfo>
  <name type="personal">
    <namePart>Caves, Richard E.</namePart>
    <namePart type="date">1931-</namePart>
    <role>
      <roleTerm authority="marcrelator" type="text">creator</roleTerm>
    </role>
  </name>
  <typeOfResource>text</typeOfResource>
  <genre authority="marc">bibliography</genre>
  <originInfo>
    <place>
      <placeTerm type="code" authority="marccountry">enk</placeTerm>
    </place>
    <place>
      <placeTerm type="text">Cambridge</placeTerm>
    </place>
    <place>
      <placeTerm type="text">London</placeTerm>
    </place>
    <publisher>Harvard University Press</publisher>
    <dateIssued>2000 (2001 printing)</dateIssued>
    <dateIssued encoding="marc">2000</dateIssued>
    <issuance>monographic</issuance>
  </originInfo>
  <language>
    <languageTerm authority="iso639-2b" type="code">eng</languageTerm>
  </language>
  <physicalDescription>
    <form authority="marcform">print</form>
    <extent>ix, 454 p. ; 24 cm.</extent>
  </physicalDescription>
  <abstract>"This book explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing. In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred." "To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate."--BOOK JACKET.</abstract>
  <note type="statement of responsibility">Richard E. Caves.</note>
  <note>Includes bibliographical references and index.</note>
  <subject>
    <geographicCode authority="marcgac">n-us---</geographicCode>
  </subject>
  <subject authority="lcsh">
    <topic>Arts</topic>
    <topic>Economic aspects</topic>
    <geographic>United States</geographic>
  </subject>
  <classification authority="lcc">NX705.5.U6 C38 2000</classification>
  <classification authority="ddc" edition="21">338.47700973 CAC</classification>
  <identifier type="isbn">0674001648</identifier>
  <identifier type="lccn">99086569</identifier>
  <recordInfo>
    <recordContentSource authority="marcorg">DLC</recordContentSource>
    <recordCreationDate encoding="marc">991220</recordCreationDate>
    <recordChangeDate encoding="iso8601">20160525115244.0</recordChangeDate>
    <recordIdentifier source="BD-DhUL">498154</recordIdentifier>
    <languageOfCataloging>
      <languageTerm authority="iso639-2b" type="code">eng</languageTerm>
    </languageOfCataloging>
  </recordInfo>
</mods>
