Richard E. Caves
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Richard E. Caves | |
---|---|
Born | PhD) | November 1, 1931
Academic career | |
Institution | Harvard University |
Field | Motion picture economics |
Doctoral advisor | Gottfried Haberler |
Doctoral students | Michael Porter Elhanan Helpman Peter Navarro |
Richard Earl Caves (November 1, 1931 – November 22, 2019) was an American economist and professor of economics at Harvard University.[1] He is known for his work on multinational corporations,[2] industrial organization[3] and the creative industries.[4] He is known within the film economics field as the author of a definitive book on the organization of creative industries.[5]
Education and Academic Career
Caves obtained his BA in economics at Oberlin College in 1953. He continued his studies at Harvard University, where he obtained his MA in economics in 1956, and his PhD in 1958.[6][7]
In 1957, Caves embarked on his academic career in the Department of Economics, chaired by
Consultancy Work
Caves acted as a consultant on various topics to various bodies. He was an adviser on international monetary problems for the
Contributions to Creative Industries
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Caves specialized in industrial and political economics, and authored several books on
According to Caves' analysis, art collectors and moviegoers are consumers; gallery owners are "gatekeepers"; and critics are "certifiers." In this respect, his work comes close to that of the American sociologist, Howard S. Becker, who, two decades earlier, put forward a theory of art worlds.[8] However his approach was strictly that of an economist, as he theorised that the organization and practices of all creative industries could be analysed according to seven "economic properties". These were: (1) time flies, the fact that all creative work is subject to tight deadlines and has to be completed by a particular date; (2) infinite variety, meaning that no two creative products are the same and, as a result, cannot be standardised; (3) nobody knows, referring to the vagaries of an uncertain market where success or failure of a creative product cannot be determined in advance; (4) A list / B list, a ranking of both organisations and individual personnel as a means to combat market uncertainties through recognised talent; (5) motley crew, whereby all creative products, to a greater or lesser extent, rely on cooperation among different personnel with different skill sets; (6) art for art's sake, meaning that creative products differ from other mass-produced commodities because they rely on aesthetic or artistic inputs; and (7) ars longa, referring to the cumulation of copyrights by film studios, publishing houses, and other creative industry organisations.
Over the years since its publication, the attention paid to Caves's work on creative industries has borne out the early comment by sociologist Paul DiMaggio that his book "promises to be a much-needed touchstone for work in cultural economics, the sociology of art and culture, and the interdisciplinary field of arts and cultural policy analysis." Scholars in economic geography, political science, anthropology, and cultural studies have all taken Caves's work as their starting point in their own analyses of different forms of creative industries – primarily in the United States and Europe, but also in the Asian region (in particular, perhaps, Japan [9]).
Awards and Prizes
- Wells Prize, Harvard University, 1957–8
- Ford Foundation Faculty Research Fellowship, 1959–60
- Gerard C. Henderson Prize, Harvard Law School, 1966
- Fellow, American Academy of Arts and Sciences, 1968
- Galbraith Prize, 1976, 1981
- Kenan Enterprise Award, 1990
- Doctor of Economic Science, University of London, 1999
- Eminent Scholar, Academy of International Business, 1999
- Distinguished Scholar Award, Academy of International Business, 1998
- Doctor of Economic Science, University of London, 1999
- Distinguished Fellow, Industrial Organization Society, 2001.[10]
Selected publications
- Caves, Richard E. Multinational enterprise and economic analysis. Cambridge University Press, 1996.
- Caves, Richard E. Creative industries: Contracts between art and commerce. Harvard University Press, 2000.
Articles, a selection:
- Caves, Richard E. "International corporations: The industrial economics of foreign investment." Economica (1971): 1-27.
- Caves, Richard E. "Multinational firms, competition, and productivity in host-country markets." Economica (1974): 176-193.
- Caves, Richard E., and Michael E. Porter. "From entry barriers to mobility barriers: Conjectural decisions and contrived deterrence to new competition*." The Quarterly Journal of Economics (1977): 241-261.
- Caves, Richard E. "Industrial organization and new findings on the turnover and mobility of firms." Journal of economic literature (1998): 1947-1982.
References
- ^ "Richard E Caves". Harvard.edu. Retrieved May 3, 2016.
- Lundvall, Bengt-Åke, ed. National systems of innovation: Toward a theory of innovation and interactive learning. Vol. 2. Anthem Press, 2010.
- ^ Shane, Scott, and Sankaran Venkataraman. "The promise of entrepreneurship as a field of research." Academy of management review 25.1 (2000): 217-226.
- Scott, W. Richard. Institutions and organizations: Ideas and interests. Sage, 2008.
- ^ Richard Caves, Creative Industries: Contracts Between Art and Commerce. Harvard, CT.: Harvard University Press, 2000.
- ^ a b Richard E. Caves, Marc J. Roberts, Brookings Institution (1974). Regulating the product: quality and variety. p. 269
- ^ a b H. W. de Jong, William G. Shepherd (2007) Pioneers of Industrial Organization: How the Economics of Competition and Monopoly Took Shape. p. 250
- ^ Howard S. Becker, Art Worlds. Berkeley & Los Angeles: University of California Press, 1982.
- ^ Brian Moeran, The Business of Creativity: Toward an Anthropology of Worth. Walnut Creek, CA.: Left Coast Press, 2014.
- ^ "Industrial Organization Society". web.northeastern.edu. Archived from the original on 2018-05-24.