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In-person film festival experiences have faced uncertain futures since the spread of COVID-19. Snap-lockdowns, unclear and rapidly changing rules to public density allowances in theatres, distribution and challenges of “working-from-home” have become prominent issues to creative and cultural workers employed within the film festival ecosystem. The purpose of this paper, drawing from a series of interviews with film festival directors, organisers and workers within Australia, offers insight into the working lives of those employed within the film festival sector during 2020.

Using the research team's existing professional networks and a targeted approach of participant recruitment, this paper draws upon interview data from 5 semi-structured interviews with participants located in various Australian capital cities, who were working in the film festival sector during 2020. Participants were all mid-career, having at least 5 years of employment experience within the film festival ecosystem (directors, programmers and content creators) as well as having experience in other adjacent cultural and creative work.

The results in this study highlight common concerns of the legacy precarity has on professional and creative practice for those engaged in creative and cultural work, but also of unusual and unexpected opportunities for creativity and new film festival delivery beyond the dominant mode of in-theatre only experience pre-COVID-19.

The originality of this study lies in its qualitative exploration of the various employment experiences of Australian film festival workers during COVID-19.

Despite a large volume of theoretical and empirical research, defining the ‘entrepreneur’ and ‘entrepreneurship’ within the cultural and creative sector, a sector with high heterogeneity in organisational and other aspects across its various segments remains challenging. In this regard, there should be a wide variety of differences in the characteristics and challenges of cultural entrepreneurs across industries, countries and regions. Nonetheless, the key role of the arts and cultural sector has increasingly piqued the interest of policymakers and the private sector, and it has been recognised for its importance within the South African economic landscape; as a result, the government has prioritised arts and culture as a pillar in their development strategies. Furthermore, while there has been some consensus over the past decade on what constitutes a creative industry, many questions about defining arts and cultural entrepreneurship still need to be answered, necessitating further definitional and policy coherence. As a result, some efforts at definitions are required to advance the sector and develop useful knowledge in policy formulation.

This chapter proposes an understanding of arts and cultural entrepreneurship as an exploration of a person, a community or a network's artistic resources (arts, creative and cultural) in value creation. It utilises meta-analysis, a non-empirical method, to review and analyse the existing literature. Further research is needed to investigate and evaluate the efficacy of established arts incubators, and the extent to which perceived entrepreneurial competencies affect organisational performance. Moreover, additional research is required to examine the entrepreneurial factors inhibiting or stimulating the influence on start-up financing (capital acquisition) in the South African arts and cultural industry.

Policy change is frequently framed as resulting from governmental strategy based on explicit preferences, rational decision making and consecutive and aligned implementation. The purpose of this paper is to explore the theoretical perspective of institutional work as an alternative approach to understanding policy change, and investigates the construction of resources needed to perform such work.

The paper is based on a case study of the process wherein the idea of cultural and creative industries was introduced into Lithuanian cultural policy. The main data generating methods are document studies and qualitative interviews.

The analysis demonstrates the ways in which the resources needed to perform institutional work are created through the enactment of practice, and through the application of resourcing techniques. Three such techniques are identified in the empirical material: the application of experiences from other fields of practice, the elicitation of external support, and the borrowing of legitimacy.

The study offers an alternative approach to studies of policy change by demonstrating the value of institutional work in such change. Further, it contributes to the literature on institutional work by highlighting how instances of such work, drawing on a distributed agency, interlink and connect to each other in a process to produce policy change. Finally, it proposes three interrelated resourcing techniques underlying institutional work.

This second chapter provides a useful backdrop for understanding innovation beyond the conventional focus on mainstream technology and science by detailing the conceptual underpinnings of cultural innovation. First, the challenges of objectively assessing the worth of novel work in the various fields of art and architecture are explored through the philosophical views of beauty. Second, the strategies and models deployed over time by artists, patrons, and experts to characterize the merits of novelty in the creative fields are reviewed. Third, the economic principles that have been used to frame the value propositions associated with cultural innovations as articulated by cultural economists are explored.

Culture is increasingly recognized as a key component of local development, but this attention is largely focused on large cities. This paper aims to focus on the ways in which the innovative, participatory action-research (PAR) methods of IdeaLabs and community intervention workshops are used by two projects with solidarity economy enterprise (SEE) participants to activate place-based cultural resources for local development in small communities.

An in-depth reflexive analysis undertaken by researchers involved in the two projects, taking a feminist ethics of care perspective, demonstrates the ways in which these two PAR methods promote local development with the goal of fighting against the economic, social and cultural degradation of small cities and rural areas.

The PAR methods used by the two projects examined stimulate place-based local development initiatives through collaboration and knowledge co-production among participants and researchers. The projects go beyond an instrumental view of the use of culture and the arts for local development to innovate and demonstrate new methodologies for more participatory approaches.

This paper addresses a gap in social economy literature, presenting methods that can be used in PAR projects to catalyse the use of culture as a local development tool by local SEEs.

The purpose of this study is to determine whether personal assets or organizational investments from an intellectual capital perspective have an influence on employee commitment in the Taiwanese cultural creative industries.

This study used a cross‐level design to conduct a questionnaire survey. The research variables covered two levels: individual level (personal human capital and organizational commitment); and organizational level (organizational intellectual capital). The authors contacted 39 small and medium‐sized enterprises (SMEs) in Taiwan's cultural creative industries, requesting their participation in the study, and 27 managers and 86 employees in 27 cultural creative firms provided research information. The response rate was 69 percent for managers and 44 percent for employees, respectively.

The research results indicate that both personal human capital and organizational intellectual capital were antecedents of organizational commitment. For personal human capital, employees with higher levels of education are less committed to organizations. Tenured employees were found to be more committed to organizations. However, the authors did not find a significantly positive effect of personal age on commitment. In regard to organizational intellectual capital, the stocks of human capital and social capital increased organizational commitment. Interestingly, organizational capital reduced organizational commitment for employees in cultural creative industries.

To the authors' knowledge, this is the first study to examine the cross‐level antecedents of organizational commitment from an intellectual capital perspective. In addition, the authors provide some empirical evidence focusing on one emerging industry in Taiwan, i.e. cultural creative industries.

This paper aims to identify firm and entrepreneurial team characteristics that may contribute to resilience in the creative industries (CI) under adverse economic conditions.

It provides case study evidence based on 19 in-depth interviews with small and young creative enterprises in Greece in 2014 that is at the peak of the Greek economic crisis. New information was collected from two follow-up waves conducted in 2017 and during the recent coronavirus disease 2019 (COVID-19) pandemic crisis.

The results suggest that highly internationalized entrepreneurial teams with extensive working and studying experience abroad, which also combine creative expertise with managerial and marketing expertise, are key resilience drivers during economic downturns. Moreover, being export-oriented, serving a diverse customer base and investing in digital technologies seem to allow CI firms to effectively adapt to challenging conditions.

This study adds to the firm-level research on the resilience drivers of small and young enterprises in the CI context. It proposes and empirically tests a conceptual framework to advance the limited knowledge on entrepreneurship and resilience patterns in the CI during crisis periods, emphasizing specific entrepreneurial team and firm characteristics.

This paper aims to provide clarity on arts marketing during COVID-19 by undertaking a critical review and theoretical integration of published cultural and creative industries (CCIs) data on the pandemic.

The study draws on the findings from a content analysis of published refereed journal articles and research reports, between 2020 and 2022.

This study clarifies how scholars in the arts marketing field have examined the concept and identified core dimensions. It also brings together these conceptual categories into an integrative multilevel framework of relevance for arts marketing during COVID-19. The framework outlines interconnected processes as well as dualities, such as digitisation, monetisation and sustainability of the CCIs and poses a future centred on entrepreneurial actions.

The originality of the paper is that it provides clear-cut evidence for new frontiers for research in the field during a period of discontinuous change due to COVID-19, through a literature review that has not been undertaken previously. It links the need to be entrepreneurial as a means for the CCIs to survive and thrive during and after a global crisis.

Drawing from resource-based theorising, the concept of network embeddedness and a process perspective on entrepreneurship, this paper establishes a conceptual framework to explain a multi-level and multi-locational network embeddedness of creative entrepreneurs in non-urban places. It challenges stylised facts about creative entrepreneurship as a predominantly urban phenomenon.

Based upon the conceptual framework for creative entrepreneurship in a non-urban place, an illustrative case study of small-scale creative-design entrepreneurs on the Lofoten Islands in Norway (2019) is utilised to discuss the framework.

The conceptual paper derives a fine-grained understanding about how creative entrepreneurship emerges and develops in non-urban places and contributes to a better understanding of how such places can nurture such entrepreneurship through multiple network embeddedness and resource-exchange configurations.

The article will enable further empirical research that tests, validates and, if necessary, refines the framework established.

Creative entrepreneurs should use various resource-exchange combinations with diverse networks to become locally embedded in non-urban places. Public-policy managers need to be aware of this variety that may exist with the network embeddedness of such entrepreneurs to support them and develop the location through resource provisions.

The paper uses an original conceptual framework.

This paper examines the US opera sector as a means for interrogating how varying forms of non-standard work shape gender inequality in the creative industries.

The authors draw on 16 seasons of opera production data from Operabase.com to conduct a gender-based exploratory data analysis of the key creative roles of conductor, director and designers, as well as the hiring networks through which teams are formed, at the 11 largest opera companies in the United States.

The authors find that women, as a group, experienced gender-based disadvantage across the key creative roles of opera production, but particularly in the artistic leadership roles of conductor and director. The authors also find that women's exclusion in the field is being further perpetuated by the sector's non-standard and overlapping employment structures, which impacts women practitioners' professional visibility and career opportunities.

The study can help organizations implement strategic hiring practices that acknowledge the relationship between gender inequality and varying forms of non-standard work with the aim of increasing women's representation.

This study work establishes the scale of gender inequality operating within a sector that has received minimal scholarly attention as a site of employment. The study analysis also offers important insight for the wider creative industries and highlights opportunities to redress gender inequality in other sectors where project-based work is prevalent.