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1994, British Journal of Management
Flexibility' became a management buzz word in the mid-to-late 1980s. Environmental pressures drove firms in many industries towards more flexible structures -away from internal, classical hierarchies towards agent networks brought together on individual project-task grounds. The goal of many organizations, according to proponents of this trend, became that of seeking 'flexible specialization'integrating specialist resources in a dynamic, flexible fashion. Critics of the drive towards flexibility argue that the phenomenon has been overemphasized, and that large-scale bureaucracies geared for mass production are still the dominant structural form. This paper overviews the arguments concerning flexibility and related arguments concerning the emergence of networked forms of organization. Flexibility trends within the UK television industry are then explored to illustrate the emergence of 'flexible specialization' and a 'dynamic network' form of organization. Television thus serves as an important counter-factual to the dismissive claims of the critics of flexibility. Flexibility, the capacity to produce a range of different products at the lowest total cost, will be more important than reducing the cost of any one product to the technically attainable minimum (Sabel, 1982, p. 202). However, the very concept of flexibility has been
Many Cultural industries are forced to adapt their organisational structure in order to stay competitive in an increasing global environment. The challenge for many firms is to create a shift towards flexible strategies. However, trajectories towards flexibility differ significantly between sectors and between countries. In this paper I redefine why organisations choose for particular organisation forms in order to generate flexibility. I do that by focusing on the Dutch audiovisual industry in the two most important clusters, which are in Amsterdam and Hilversum. I argue that in both clusters the particular local context and the historical evolvement of the specific product market act upon these organisational structures. The television industry in Hilversum on the one hand used to be embedded in a highly institutional framework that opened itself due to changing legislation and tends to fall apart in a cluster that is characterised by neo-tayloristic structures and internalisation. The advertisement film industry in Amsterdam, on the other, forms an integral part of the project ecology of the Amsterdam advertisement industry. Latent relations are long-term and have their roots in shared historical trajectories and become manifest in times of temporary collaboration. The Amsterdam network is clustered in the city centre and the co-operating members use artisan and specialized production methods to meet the high-quality standards of the production of commercials.
2000
This working paper reports on the findings from a research project, just completed. The project aimed to contribute to understanding of the innovative performance of UK industry by bringing together human resources and innovation management expertise. The central research question being investigated was: how do companies maintain the ability to innovate, given looser formal ownership of intellectual capital, due to
Industrial and Labor Relations Review, 1994
The authors trace the development of the motion picture and television production industry's three-tier compensation scheme, showing how incremental solutions to unanticipated problems broadly transformed labor relations by changing key institutional relationships. This example, they argue, demonstrates that a fundamental transformation in the union-employer relationship need not originate in high-level strategic planning, and may represent hope for the survival of collective bargaining in other industries.
Journal of Media Business Studies, 2021
This article analyses the role of intermediaries in the evolution of the UK TV production sector tracking the processes which in the past two decades have underpinned consolidation in the UK TV production sector. The research involved elite interviews with executives at ten UK Independent production companies and two financial intermediaries as well as trade bodies and civil servants. The epistemic work of intermediaries shape transactions in a way that aligned with the buyers’ desire to grow their portfolio of companies by establishing the fitness of companies for acquisition. Through classification, clustering and sorting, they confirm the notion (Knorr Cetina and Preda 2001, 30–31) that knowledge can be treated as a commodity – ‘a more or less valid representation of the world which is “inscribed in and constitutive of economic objects as relevant to the practical activities of economic agents” and purposefully assembled.
2018
This exploratory paper considers the evolution of drama production companies in the UK against the backdrop of regulatory interventions (Paterson, 2017a). In so doing, it poses the question of what was it that made a successful drama production company as the context of tv production changed. A set of firm types of current drama production companies is established, the density of companies occupying this niche mapped, and the growing heterogeneity of firm types over time identified. Firms within these types are examined applying the fitness landscape methodology, developed for the analysis of organisations from complexity theory (Kauffman, 1993). This approach offers a dynamic conception of an industrial sector in continuous change responding to the technological, market and the endogenous factors with which firms engage. The adaptive walks of a set of companies within each firm type are plotted by examining a company’s reputation, their access to talent and their ability to secure ...
The past decade has seen a transformation in the way media organizations have managed their businesses. The emergence of digitalization has paved the way for new media technologies, a proliferation of media outlets and multiple platforms to distribute mediated content. The work of Picard (2002), Kung (2008) and Oliver (2013) demonstrated the nature of high velocity media market conditions, whilst Doyle (2013, p.35) noted that “media firms have naturally adapted” their businesses, in response to the dynamic nature of the media environment, as a means to protect and sustain their company. This paper proposes that media firms manage their business and strategies through a process of adaptation. As such, organizational adaptation is examined through the lens of Dynamic Capabilities Theory (Teece and Pisano, 1994) which is well placed to consider how media firms have adapted (Ambrosini, Bowman & Collier 2009) to a transformational context heavily influenced by technological innovation. This paper will present the findings from a survey of UK media executives and argue that Dynamic Capabilities Theory can be extended to consider the ‘ability’ of a media organization to adapt their strategies, business model, resources and capabilities, faster than their rivals, that can provide them with an Adaptive Advantage in the market place. Keywords: Adaptive Advantage, Dynamic Capabilities, Competitive Advantage, Adaptation, Business Strategy, Business Model, Media Management, Media Strategy.
2003
The concept of flexibility has occupied an increasingly central role in the operations management and strategy literatures. Despite this surge of interest, the concept of flexibility and the means employed to deliver flexibility remain under-researched topics. This paper critically examines the literature on manufacturing flexibility and lists a number of unresolved tensions and issues in this literature. In the second half of this paper, we examine the potential contributions of the industrial networks literature to the study of flexibility and propose promising new avenues for further research in this area.
In the past decade television broadcasters have transformed themselves into multi-sector media firms. Traditional media and telecommunications industries have converged, resulting in new media technologies and platforms keyed to digitalisation, correlated with fundamental changes in audience consumption habits, and encouraging exploration of new business models. This transformative and largely unpredictable media environment raises important questions about how media firms have adapted to a competitive media environment that is characterised by uncertainty. Dynamic Capability Theory provides us with an appropriate lens through which to examine how media firms adapt to rapidly changing environments. It argues that in dynamic markets, firms must adapt and refresh their resource base in order to develop new capabilities and competencies that will help them to adapt to market change and deliver sustainable competitive advantage over time. This chapter examines the theory on ‘dynamic capabilities’ and applies it to a media company in the UK (BskyB) to illustrate its importance, by engaging a critical evaluation of the company’s ability to adapt and transform from a subscription based television company into a multi-product, multi-platform media firm. The chapter concludes by arguing that that Dynamic Capabilities Theory provides a valuable contribution to the debate on how media firms can maintain high levels of corporate performance in response to fast changing market conditions.
This paper aims to highlight the significant role played by the convergence of business processes within the media industry. The advent of digitization and the convergence of existing business processes have brought about a complete transformation in the current media market. Within the realm of the media industry, there is a distinction between the "old" and "new" media sectors, representing the periods before and after the convergence of business processes. While the concept of convergence holds a wide range of interpretations, its impact within the media industry is evident across various creative sectors associated with media. Among these sectors, publishing, being the oldest category within the media industry, has experienced the most profound changes due to digitization and convergence. The merging of production and distribution of media content has directly influenced shifts in business paradigms, resulting in the emergence of an entirely new media market. The evolution of the communications market, coupled with digitization, internet advancements, and technological progress in screens of different sizes and purposes, has acted as fuel for the transformation and convergence of various segments within the media industry. This has given rise to the development of entirely new forms of creative industries.
British Journal of Management, 1991
The conclusion that organizations need to become more strategically flexible as a response to increasing environmental dynamism and uncertainty has been an important feature of recent contingency theories of organization design. In this literature organizations have been analysed from the perspective of the development of networks of organizations concentrating on their core competencies and contracting among themselves on a stable long-term basis. This model of inter-firm relationships provides an alternative mode of organizational structuring to that arising from vertical integration, which, by contrast, is seen as fostering strategic inflexibility. In the literature on corporate restructuring and changes in ownership form arising from the markets and hierarchies perspective, we see a similar emphasis on the dysfunctional consequences of large-scale bureaucratic organization. Changes in ownership form are seen as a major means of providing more effective managerial control. In this paper we argue that linking the literature on flexibility emanating from contingency theories of organizational design and the markets and hierarchies perspective provides important new insights into current and emerging forms of organization.
Systemic Practice and Action Research, 2012
Organisational flexibility, as the ability to adapt quickly to new or changing environments, has received growing attention from both researchers and managers as a key driver for companies to survive and prosper in turbulent and unpredictable environments. Although many scholars have studied the complex nature and multidimensional structure of this construct, research on a comprehensive model, which explains the relationships between its key variables and consequent side effects of such iterations, remains a challenge. We explore these interactions and the dynamic adaptation processes applying system dynamics modelling to develop a more robust organisational flexibility theory. The objective of this paper is twofold, to provide dynamic propositions related to several strategies along different enterprise lifecycle stages and to complement the transition guidelines proposed by the organizational flexibility framework. The results suggest that decision concerning flexible capabilities management and organizational responsiveness can be improved if organizational flexibility is analysed and evaluated incorporating the time-varying dimension. The analysis help to test and expand current theory, envisage new theoretical propositions and provide new alternatives for empirical results about the complex construct of organizational flexibility.
Human Relations, 2021
The dominant view of careers is that they have been transformed by the emergence of ‘post-bureaucratic’ organizations. ‘Neo-bureaucratic’ structures have emerged, retaining centralized control over strategy and finance while outsourcing production, creating employment precarity. British television epitomizes a sector that has experienced long-run deregulation. Producing television content is risky and highly competitive. How do broadcasters minimize the risks of television production? Broadcasting neo-bureaucracies avoid relying on fragmented labour markets to hire technically self-disciplining crews. Control regimes are enacted through activating social networks by broadcast commissioners, green-lit to trusted creative teams who recruit key crew, through social networks that complement diffuse forms of normative control. Social networks and the self-discipline of crews are mutually constitutive, (re)producing patterns of labour market advantage/disadvantage. Younger freelancers pro...
Social Science Research Network, 2010
This paper explores the impact that consolidation has had on the UK's Independent Television Production Industry over the past decade and how this process had affected the management of different sized production companies. In-depth interviews with a number of influential professionals revealed five themes: the management of small companies, post acquisition, had not changed; economies of scale can be attributed to an increase in scale; medium sized companies would find it increasingly difficult to compete; the emergence of the Super Indie had not stifled creativity in the industry; a key driver in the consolidation process is that of individual gain.
British Journal of Industrial Relations, 2001
Research on organizational flexibility should examine the linkages between numerical and functional flexibility. Unfortunately, studies of each type of flexibility generally neglect the other. Moreover, the most popular conception of the interplay between these two forms of flexibility -the core-periphery model -is incomplete in important ways. I discuss evidence and limitations of the core-periphery model of the flexible firm, and outline some promising attempts to conceptualize how organizations may combine functional and numerical flexibility. I focus mainly on the USA and the UK, though I also review evidence and issues involved in cross-national differences in organizational flexibility.
Environment and Planning A, vol34, number 11, p1985-2001, 2002
This is a detailed case history of one of London’s iconic new media companies, AMX Studios. Some of the changes in this firm, we assume, are not untypical for other firms in this sector. Particularly we want to draw attention to two transformations. The first change in AMX and in London’s new media industry more generally refers to the field of industrial relations. What can be observed is a shift from a rather heterarchical towards a more hierarchical organized new media industry, a shift from short-term project networks to long-term client dependency. The second change refers to new media products and services. We want to argue for a shift from cool content production towards consultancy and interactive communications solutions.
This paper contributes to the study of projects networks - as a particular type of interorganizational networks - by looking into the mechansims that are able to bind or even lock-in customers into interorganizational relations. The study is set in the field of television production.
Media, Culture & Society
Over recent years leading independent television production companies in the UK and elsewhere in Europe have become prime targets for corporate activity and many have been subject to takeover, often by US media groups. Why is it that nurturing the development of television production companies which achieve scale but, at the same time, remain independent appears to be so challenging? This article considers which factors are crucial to the success of television production businesses and argues that, aside from the ability to make compelling content, two key variables which strongly affect commercial success and sustainability in this sector are, first, effective management and exploitation of intellect property rights (IPRs) and, second, scale and configuration of activities. Focusing primarily on the latter, it analyses how changing technological and market conditions are affecting the advantages conferred by size and by adopting differing cross-ownership configurations thus, in turn, fuelling current processes of industrial restructuring .
The International Journal on Media Management, 2007
Little is known about entertainment acquisition and production, especially the international format trade, although its worldwide market volume adds up to about 2.4 billion. Format trade is a process along the stages of creating, distributing, producing or reproducing, and broadcasting entertainment programs. Findings of a current empirical research project conducted by means of in-person interviews with managers in Germany and the United Kingdom reveal a phenomenon by which the particular organizations involved (creators, distributors, producers, and broadcast stations) establish structures that are called “flowing organizational networks.” Depending on situational requirements and the respective stages of the format trade process, actors tend to activate different organizational structures.
The competitive dynamics of many industries have changed considerably over the past decade, and perhaps, none more so than in the Media Industry. Industries have long been examined by researchers from a strategic perspective with various themes of inquiry relating to; industry structure and positioning, industry evolution and development, industry lifecycle, industry change and industry consolidation. Fundamentally, this body of knowledge emphases the importance of an organisation's strategic fit with their competitive environment. This paper extends our knowledge of industry analysis into the domain of dynamic capabilities. As such, it examines the notion of dynamic capabilities existing at industry level and in doing so it presents the findings from a survey of UK media executives into the existence dynamic capabilities in the UK Media Industry. The convergence of media industry capabilities The increasingly dynamic nature of the media environment provides an ideal context to ...
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