How counter-fate relational practices mitigate resource acquisition challenges during project nascence

2021 ◽  
pp. 017084062110694
Author(s):  
Célina Smith ◽  
Erkko Autio

Research shows that embedded relations can facilitate the resource acquisition process in entrepreneurship. Yet, as relations are dynamic and subject to change, it remains unclear how entrepreneurs can acquire necessary resources when pre-existing ties may not yet or no longer be relevant, sufficient or accessible. Under these circumstances, acquiring necessary resources is a challenge and one that novice entrepreneurs in project-based enterprises face repeatedly as they seek to sustain their businesses. Evidence from 123 projects developed by six newly formed independent television production companies in the UK shows that new entrepreneurs can manoeuvre around constraints by engaging in one of four counter-fate relational practices: posturing (i.e. exaggerating interest from key ties), status sequencing (i.e. developing key relations in sequence based on status), geographic sequencing (i.e. attaining key ties in sequence based on location), and opportunistic manoeuvring (i.e. manipulating the opportunism of potential resource-holders). We contribute to entrepreneurship research by showing how resources can be acquired despite a lack of key embedded ties, and highlight enabling conditions; and to project studies by illustrating how projects progress past nascence to launch and acquire new clients or repeat commissions.

2020 ◽  
Vol 17 (3) ◽  
pp. 313-333
Author(s):  
Simone Knox

This article explores the development and pre-production history of the 2001 HBO mini-series Band of Brothers. It does so via a combination of original archive research (conducted at the BFI Reuben Library) and interviews with several industry figures with relevant professional experience, including John Barclay, the current Head of Recorded Media for the UK trade union Equity, and Roger Harrop, the former director of regional film commission Herts Film Link. Using these methodologies, the article identifies Band of Brothers as the first significant US runaway television production in the UK, and uncovers how this HBO programme came to benefit from British film tax relief. Here, close attention is paid to dubious practices concerning tax policy and contractual agreements for actors, especially Damian Lewis's pay. The article demonstrates the impact Band of Brothers has had on television production in the UK in terms of providing Equity with a useful precedent when negotiating for subsequent international productions such as Game of Thrones (2011–19). Band of Brothers offers important and timely lessons to be learned, especially given the recent growth of US television runaway productions in the UK.


2021 ◽  
pp. 104225872199033
Author(s):  
Paul Lassalle ◽  
Eleanor Shaw

This article applies an intersectional lens to analyze the lived experience of 11 women migrant entrepreneurs based in the UK. We adopt structuration as our ontology to analyze intersectionality in entrepreneurship at the interplay of macro-level structures and micro-level agency, addressing tensions between determinism and subjectivism. Findings show that women migrant entrepreneurs are trailing wives who experience constrained agency which influences their entrepreneurial activities. By highlighting the specific issues faced by entrepreneurs situated at the intersection of the oppressive structures of patriarchy and outsidership, we advance the intersectional agenda in entrepreneurship research and policymaking.


2019 ◽  
Vol 41 (7) ◽  
pp. 939-957
Author(s):  
Gillian Doyle ◽  
Kenny Barr

Recent technological and market changes in the television industry appear to have transformed the corporate configurations which conduce to economic success in the production industry. As a result, many leading independent television production companies in the United Kingdom and elsewhere across Europe have become prime targets for corporate activity and many have been subject to takeover, often by the US media groups. Does this matter? Does the concept of ‘national’ television content still have any relevance in the digital era? Drawing on a multiple-case-study-based analysis of several UK-based television production companies over recent years, this article examines how corporate takeovers in the production sector may affect creative decision-making and impact on the nature and quality of television content. Against a background of increased investment interest from multinationals in indigenous players in the United Kingdom and across Europe, the analysis presented makes a timely and policy-relevant contribution to knowledge.


2019 ◽  
Vol 15 (4) ◽  
pp. 615-630 ◽  
Author(s):  
Ana Lourenço ◽  
Simon Turner

AbstractThis article builds on a legal institutionalist approach to assess market-based regulatory change in British television production over the last three decades. It explores how formal rules governing television production constitute market relations, and whether these rules are likely to be evaded by television producers and commissioners in a context where contracting depends heavily on social norms of cooperation, reciprocity and flexibility. Using qualitative data, this article suggests that changes in law and terms of trade intended to promote a market in television production have not had a straightforward or linear effect: compulsory independent production quotas and licensing models of terms of trade have redrawn organizational boundaries in unexpected ways, disturbed the public service remit and engendered new financial flows. Formal rules were nonetheless central to the trajectory of the television production industry, as they were a constitutive element of changes in the power structure of the sector towards producers’ interests.


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