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White paper on creativity - ebla center

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Chapter 8dynastic line have not always had thesame quality and at times have failed tochoose competent managers. Moreover,family-run management, especially fromthe sec<strong>on</strong>d generati<strong>on</strong> <strong>on</strong>wards, seemsprincipally to aim at making m<strong>on</strong>eythrough rent, at times exploiting an oldor recent traditi<strong>on</strong>. In any case they areloath to risk innovati<strong>on</strong> or a shrewdrather than miserly management ofinvestments.Many smaller businesses, especially inthe sector of so-called “independent”televisi<strong>on</strong> producti<strong>on</strong>, have anotherproblem, which often compounds thekind of ownership set-up describedabove: i.e. the lack of a true market <strong>on</strong>which products can be put up for sale tovarious competing players. In fact theseproducers are <strong>on</strong>ly independent inname, since they are str<strong>on</strong>glyc<strong>on</strong>diti<strong>on</strong>ed by the wishes or evenwhims of executives and managers (andby the changes in the broadcastingnomenklatura), which in the case of thepublic broadcasting network is, in turn,c<strong>on</strong>diti<strong>on</strong>ed by political events. This,too, deeply affects the possibility ofmaking investments, not <strong>on</strong>ly becauseof the endemic disease of undercapitalisati<strong>on</strong>but also because of thedifficulty in making serious mediumtermassessments, albeit in uncertainmarkets.One particular enterprise model hasdeveloped greatly in the last 20 yearsand plays an important role not <strong>on</strong>lyand not so much in the directproducti<strong>on</strong> of “c<strong>on</strong>tent”, as in theproducti<strong>on</strong> of services and intermediarygoods in the increasingly elaboratesupply chains in publishing and theaudiovisual field. Examples of thismodel are companies offering editing oric<strong>on</strong>ographic research services forpublishers, or firms specialised insearching for footage and obtaining therights for their reproducti<strong>on</strong>. Thesesmall and very small enterprises havebeen created by young, often highlyqualified people as a resp<strong>on</strong>se to thescarce supply of jobs and also the widelyfelt need for ec<strong>on</strong>omic and pers<strong>on</strong>alindependence. Although created not<strong>on</strong>ly under the pressure of necessity, butalso partly by choice, these firms areextremely fragile financially, volatile interms of life span, generally weak also instrictly legal terms. The real extent ofthis phenomen<strong>on</strong> is very difficult toassess with any precisi<strong>on</strong> due to a lackof any in-depth studies. Which is a pity,because they could be an importantpatrim<strong>on</strong>y of professi<strong>on</strong>al skills andexperiences.8.3. Market sizeFor both the televisi<strong>on</strong> and radiosectors, we menti<strong>on</strong>ed local or groupbroadcasters, working in circuits ornati<strong>on</strong>wide. An imaginary alien whovisited our country in 1976 and thencame back today would certainly beamazed, since the legislati<strong>on</strong> in 1976setting up the so-called “liberalisati<strong>on</strong>”of broadcasting denied any broadcasterexcept state televisi<strong>on</strong> – i.e. the RAI –the right to broadcast nati<strong>on</strong>wide. Butin fact already in the 1980s,c<strong>on</strong>spicuously in the field of televisi<strong>on</strong>,and more subtly but no less tenaciouslyin the field of radio, the nati<strong>on</strong>al marketcompletely overreached local markets interms of advertising revenue and also inscheduling and promoti<strong>on</strong> strategies.WHITE PAPER ON CREATIVITY 195

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