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Full Description
Technological innovations, sociological and consumer trends, and growing internationalization are transforming the cultural and creative industries (CCIs). These changes present new challenges for CCIs that require original and inventive answers. Innovation in the Cultural and Creative Industries analyzes the powerful strategies put in place by CCI organizations such as Nintendo, the Lascaux Cave and Daft Punk. The case studies presented in this book cover video games, books, music, museums, fashion, film and architecture. Each chapter is organized around five key points: a theoretical framework that focuses on a specific concept, a description of the methodological mechanism mobilized, a presentation of the industry concerned, the analysis of the innovative strategy and a recap of the lessons and best practices demonstrated by the case.
Contents
Introduction ix
Estelle PELLEGRIN-BOUCHER and Pierre ROY
Chapter 1. Nintendo in the Pursuit of the Blue Ocean 1
Pascal AURÉGAN and Albéric TELLIER
1.1. Introduction 1
1.2. Blue Ocean strategy 2
1.3. The video game industry: observation method and characteristics 6
1.3.1. The methodological system 6
1.3.2. The video game industry: a presentation 7
1.4. Nintendo's strategy: mixed results 13
1.4.1. A spectacular recovery 13
1.4.2. How can recovery be achieved? 15
1.5. What lessons can be learned from Nintendo's strategic directions? 18
1.5.1. The Nintendo Wii: a case study of Blue Ocean strategy? 18
1.5.2. Sailing on the blue ocean: how far? 21
1.5.3. The launch of the Switch: a return to the fundamentals of the Blue Ocean strategy? 23
1.6. Conclusion 25
1.7. References 27
Chapter 2. Omnichannel Innovations in the Bookstore Business: The Case of the Libraires Ensemble Group 29
Carole POIREL
2.1. Introduction 29
2.2. The transition from multichannel to omnichannel: a strategic innovation 31
2.3. Research methodology 35
2.4. A presentation of the bookstore sector 36
2.5. The analysis of the innovative strategy 40
2.5.1. The role of networks in the omnichannel strategy 43
2.5.2. An omnichannel model adapted to the singularities of bookstores 45
2.6. Feedback on concepts and best practices 48
2.7. Conclusion 50
2.8. References 51
Chapter 3. The Innovative Business Model of Daft Punk 55
Alexandre PERRIN
3.1. Introduction 55
3.2. The definition of a business model 56
3.3. The business model of the music industry 57
3.3.1. Recorded music 58
3.3.2. Live music 61
3.3.3. Current business models 61
3.4. First historical attempts to break the model 63
3.4.1. Attempts concerning value propositions 63
3.4.2. Attempts concerning value architectures 64
3.4.3. Attempts concerning business equations 65
3.5. Methodology 65
3.6. Daft Punk: an innovative model in electronic music 67
3.6.1. Innovation concerning the value proposition 67
3.6.2. Innovation concerning value architecture 68
3.6.3. Innovation concerning the business equation 69
3.7. Conclusion 70
3.8. Appendices 71
3.9. References 75
Chapter 4. Innovation through Visitor Experience in Museums: The Case of the Lascaux Caves 77
Juliette PASSEBOIS-DUCROS
4.1. Introduction 77
4.2. Innovation through and in consumer experience 78
4.2.1. The concept of consumer experience 78
4.2.2. Innovation through the creation of memorable experiences 79
4.2.3. Innovating through UX Design or how to simplify the user experience 81
4.2.4. Innovating by analyzing and understanding the customer journey or how to personalize consumer experience 81
4.3. Heritage institutions: a sector in the throes of change 84
4.3.1. The weight of assets in the French economy 84
4.3.2. The economic structuring of the cultural heritage "industry" 85
4.4. A presentation of the Lascaux case and the analytical methodology 86
4.4.1. The case study methodology 87
4.4.2. The context of recent innovation in Lascaux: a brief account of 70 years of operation 87
4.4.3. Towards the creation of a center worthy of Lascaux's worldwide reputation 89
4.5. Innovation at the service of the visitor experience in Lascaux 91
4.5.1. Lascaux and the "prehistoric experience" 91
4.5.2. Visitor data to improve the individual experience 93
4.5.3. Data at the service of the organization's management 95
4.6. Conclusion 96
4.7. References 98
Chapter 5. Tale Me, Green Innovation for the Textile Industry 101
Arthur CARÉ
5.1. Introduction 101
5.2. The theoretical framework 102
5.2.1. Green innovations: semantic diversity and definition 102
5.2.2. The nature of green innovation 104
5.2.3. Blue Ocean strategy and the strategic framework 106
5.3. The research method 107
5.3.1. A sectoral qualitative study 107
5.3.2. Data collection and processing 108
5.4. The textile and clothing industry 109
5.4.1. Historical landmarks 109
5.4.2. Textiles, the flagship of French industry 111
5.4.3. Fashion is passing, waste remains 112
5.5. Ready to rent 113
5.5.1. Tale Me and clothing rental 113
5.5.2. Tale Me casts off 117
5.6. Case lessons and good practices 122
5.6.1. "From cradle to plateau" 122
5.6.2. Green Ocean strategy 124
5.7. Conclusion 126
5.8. References 127
Chapter 6. Identity for Innovation: The Strategies of Cinema Sites 131
Ève LAMENDOUR
6.1. Introduction 131
6.2. Methodology 132
6.3. A changing industry 135
6.4. The identity and strategy of cinema sites: tensions in Nantes 139
6.4.1. The tension between city-center and periphery 139
6.4.2. The magic of cinema sites 142
6.4.3. Programs, the DNA of cinema sites 145
6.5. Conclusion 151
6.6. Glossary of terms 155
6.7. Sources and archives 156
6.8. References 157
Chapter 7. Coopetition Between Architects: Designing Innovative Projects with Competitors 159
Estelle PELLEGRIN-BOUCHER and Pierre ROY
7.1. Introduction 159
7.2. Coopetition: an example of an innovative strategy 160
7.2.1. Presentation and definition of coopetition strategies 160
7.2.2. Different types of coopetition 161
7.3. Methodological choices 162
7.4. Presentation of the architecture sector 163
7.4.1. Architecture as a profession 163
7.4.2. Recent developments in the sector 164
7.5. The different types of coopetition between architects 165
7.5.1. Type 1: improving commercial prospecting 165
7.5.2. Type 2: reducing geographical distance 168
7.5.3. Type 3: a successful project from A to Z 169
7.6. Lessons learned and good practices 172
7.6.1. Choosing coopetitors 172
7.6.2. Managing coopetition 174
7.6.3. Exploiting the benefits 175
7.7. Conclusion 176
7.8. References 177
List of Authors 179
Index 181
