Table of Contents

Handbook of Management and Creativity

Handbook of Management and Creativity

Elgar original reference

Edited by Chris Bilton and Stephen Cummings

This Handbook draws on current research and case studies to consider how managers can become more creative across four aspects of their business: innovation, entrepreneurship, leadership and organisation – and does so in an accessible, engaging and user-friendly format.

Introduction to Part I: Creative Innovation

Chris Bilton and Stephen Cummings

Subjects: business and management, organisational innovation, organisation studies, strategic management, economics and finance, services, innovation and technology, organisational innovation

Extract

The final stages of putting this handbook together occurred at the same time as Peter Jacksonís first instalment of the Hobbit movies hit cinemas. Illustrative of the love (if not the understanding) that the business world has for the ëcreativeí industries, a number of articles appeared in business magazines that profiled Jacksonís approach to the creative process. Jacksonís words reflect the bisociations that we outlined in our introductory chapter: a tight diligence and focus on the plan, combined with a loose dilettantism that continues to seek new influences; a singular leaderís vision, while interacting with and including others in developments; a tightly controlled organisation that at the same time unleashes creative talent. But, mostly, they reflect that eye for innovation with a tight focus on making sure that a product gets created with the open mind that allows for further discovery. For example, Jackson is well known for his intense logistical planning and attention to detail in advance of shooting, but as he noted (KiaOra 2012: 27): ëThere always has to be spontaneity. You have to be thinking in a flexible way . . . you have to be flexible and craft what youíve got.í Even during the shoot things can be changed if one is mindful of the possibilities. According to Jackson (KiaOra 2012: 27): ëYou canít have an idea that requires a character that hasnít been brought to the set or a particular prop or location thatís not in front of you.

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