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El cooperativismo español en la hora presente
In: Revista de fomento social, S. 57-75
ISSN: 2695-6462
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L'application des principes coopératifs dans la nouvelle Loi coopérative générale espagnole
In: Revue des Etudes Cooperatives, S. 5-23
Análisis económico y sociológico del cooperativismo agrícola
In: Publicaciones del Fondo para la Investigación Económica y Social de la Confederación Española de Cajas de Ahorro 41
Legitimation and Integration through Dependency: Graduate Business Education in Latin America
In: Organization: the interdisciplinary journal of organization, theory and society, Band 4, Heft 4, S. 564-581
ISSN: 1461-7323
Journeys to the Self: Using Movie Directors in the Classroom
In: Journal of management education: the official publication of the Organizational Behavior Teaching Society, Band 28, Heft 3, S. 335-355
ISSN: 1552-6658
This article suggests that temporary (project based) filmmaking organizations, and film directors as their leaders, lend themselves to examining a plethora of leadership issues, from social sources of power to competencies in network organizations. It advances for classroom discussion and teaching the cases of Almodóvar and Coppola as examples of idiosyncratic filmmakers in a "subsidy-trapped," craft like European cinema versus a gross and agent-driven Hollywood studio system. The article concludes with a discussion of the journey metaphor as a unique opportunity to look at the philosophical problem of the meaning of life and the achievement of consistency and continuity in one's trajectory.
Shielding Idiosyncrasy from Isomorphic Pressures: Towards Optimal Distinctiveness in European Filmmaking
In: Organization: the interdisciplinary journal of organization, theory and society, Band 12, Heft 6, S. 863-888
ISSN: 1461-7323
This paper advances a micro theory of creative action by examining how distinctive artists shield their idiosyncratic styles from the isomorphic pressures of a field. It draws on the cases of three internationally recognized, distinctive European film directors—Pedro Almodóvar (Spain), Nanni Moretti (Italy) and Lars von Trier (Denmark). We argue that, in a cinema field, managing artistic pressures for distinctiveness versus business pressures for profits drives filmmakers' quest for optimal distinctiveness. This quest seeks both exclusive (unique style) and inclusive (audience-appealing) artwork with legitimacy in the field. Our theory of creative action for optimal distinctiveness suggests that film directors increase their control by personally consolidating artistic and production roles, by forming close partnerships with committed producers, and by establishing their own production companies. Ironically, to escape the iron cage of local cinema fields, film directors increasingly control the coupling of art and business.