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We investigate the competitive consequence of vertical integration on organizational performance using a comprehensive dataset of U.S. motion picture production companies, which includes information on their vertical scope and competitive overlaps. Vertical integration appears to change the dynamics of competition in two ways: (i) it buffers the vertically integrated firms from environmental dependence and (ii) it intensifies competition among non-integrated organizations. In contrast to the existing literature, our results suggest that vertical integration has implications well beyond both the level of the individual transaction and even the internal efficiency of the integrated firm.

In current research on market categories, hybridity (i.e., the association of organizations and/or the products they offer with multiple category memberships) represents an important issue with many practical implications, especially for project-based forms of organizations. This chapter explores the evolution of hybridity and the conditions under which different kinds of project-based organizations develop hybrid projects. By studying the feature film industry in the United States from 1920 until 1970, this chapter contrasts the current perspective based on status-organizing processes and suggests that hybridity is a population-level process that can be interpreted as the result of the construction and interplay of different identities, and on the dynamic of the identity dimensions employed by different actors in such effort. The chapter shows that the development and construction of the identity of a temporary organization is different from other types of organizations, and is linked to identification processes both at the organizational level, with the company or with specific individuals in key roles, and at the institutional/collective level, with pure (single-category) and hybrid (multi-category) genres. This chapter highlights the mutual interactions and constraints between these two levels in different life stages of the film industry.

This study examines the variety of cooperative strategies used to organize the international co-production of motion pictures. Motion picture production is a high-goal singularity, project-based industry in which the structure of relationships between companies involved in cooperative strategies is highly visible. Working from existing theories of co-production and drawing on the strategic joint ventures literature, I examine archival data, first for evidence of the strategies predicted by theory, and then for project participation strategies that theory does not account for. I identify four strategies on the basis of the ways that firms participate in international co-productions. A large number of relatively short-lived firms enact strategies of supplying resources and skills to the persistent firms dominate the industry. Two types of persistent firms cooperate with both direct competitors and complementors but pursue different markets, whereas a third type avoids cooperation with peers. The observed strategies constitute a hierarchy of strategic roles, and thus demonstrate the complexity of strategic behavior involved in project-based production.

Creativity and innovation are important for fulfilling organizational goals. In understanding ways to enhance creativity research has moved on from understanding individual creativity, to an organizational analysis of successful firms that encourage creativity. However, an additional source of creativity stems from direct and indirect leadership and the decisions leaders make to enhance creativity throughout the organization. This chapter examines creativity in film and television as influenced by leadership activities at the organization, team, and individual level and describes lessons learned.

Despite the importance of the processes by which legitimacy barriers to the emergence of new industries are overcome, direct study of them has been largely absent from the literature. We develop and test a model of how capacities for social action are created and deployed to overcome cultural barriers to new industries. Specifically, we argue that the experience that firms gain in field-relevant activity as well as the development and concentration of ties among those firms generate capacities to overcome the barriers of cognitive and sociopolitical legitimacy. We support this argument empirically by linking measures of these factors with attention to and favorability assessments of the new industry.

Given the growing external value chain disruptions, there have been many studies seeking to propose methods for improving the resilience of global value chains (GVCs). This study complements previous studies by proposing the perspective of firm strategy in switching governance modes to improve the resilience of GVCs. Specifically, this study explores under what conditions MNCs are more likely to switch governance toward non-equity mode (NEM) from the alternative ones. This study introduces three industry-specific factors that affect MNCs’ decision for NEM. It then applies this framework to explain how Korean MNCs’ strategic governance change for the co-productions with Chinese firms when entering their film market which is highly restricted by the Chinese government. This study enriches the research on GVC resilience by arguing that MNCs can avoid unfavorable environmental impacts by flexibly changing their GVC governance modes under certain conditions. This study also contributes to the understanding on why some countries maintain their high attractiveness for foreign MNCs, whereas other countries do not, given the similar level of restrictive government regulations. The protectionist policies of the host government are valid only in an industry where the three conditions are met, as they increase the possibility of domestic firms’ participation by encouraging foreign MNCs to shift their entry mode from sole venture toward alliances with domestic firms.

Over the years, the impact of Nollywood on the promotion and development of Nigerian culture has cut across geographical boundaries. In terms of film production quality, the industry has made significant progress, even though there remains great room for improvement. In recent times, output from the industry gained global recognition, with films such as Lion Heart, King of Boys and Chief Daddy, to mention a few, attaining great landmarks in the film world in 2019. A significant feature in the Nigerian film industry is the wealth of diversity which reflects the true Nigerian nation. The involvement of Igbo indigenes in the Nollywood industry has helped put the Nollywood ideology into the consciousness of Nigerians and the world. Therefore, this chapter examines the relevance of the Igbo traditional business model in sustaining the dominance of Igbos in the distribution network of films in the Nigerian film industry, also known as Nollywood.

The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media industries in small countries in the region as they are challenged in ways notably different from large countries with large domestic markets for media content. It discusses the differences between the AV media industries in the Nordic and Baltic countries and suggests that while in the first case long-term welfare society policies and conscious policy-driven system building have conditioned growth and international success then also in the second case innovation policy rationales have facilitated recent growth and dynamics. It then discusses the specific challenges, especially platformisation to small media industries in contemporary globalising media markets, and suggests that opportunities to resist these challenges may be in local inter-sectoral cooperation, that is, in building cross-innovation systems.