Innovation in the Cultural and Creative Industries.

Cover -- Half-Title Page -- Title Page -- Copyright Page -- Contents -- Introduction -- I.1. Definition, characteristics and scope of CCIs -- I.2. Innovative strategies at the heart of CCIs -- I.3. Summaries of the chapters and the structure of the book -- I.4. References -- 1. Nintendo in the Pursuit of the Blue Ocean -- 1.1. Introduction -- 1.2. Blue Ocean strategy -- 1.3. The video game industry: observation method and characteristics -- 1.3.1. The methodological system -- 1.3.2. The video game industry: a presentation -- 1.4. Nintendo's strategy: mixed results2 -- 1.4.1. A spectacular recovery -- 1.4.2. How can recovery be achieved? -- 1.5. What lessons can be learned from Nintendo's strategic directions? -- 1.5.1. The Nintendo Wii: a case study of Blue Ocean strategy? -- 1.5.2. Sailing on the blue ocean: how far? -- 1.5.3. The launch of the Switch: a return to the fundamentals of the Blue Ocean strategy? -- 1.6. Conclusion -- 1.7. References -- 2. Omnichannel Innovations in the Bookstore Business: The Case of the Libraires Ensemble Group -- 2.1. Introduction -- 2.2. The transition from multichannel to omnichannel: a strategic innovation -- 2.3. Research methodology -- 2.4. A presentation of the bookstore sector -- 2.5. The analysis of the innovative strategy2 -- 2.5.1. The role of networks in the omnichannel strategy -- 2.5.2. An omnichannel model adapted to the singularities of bookstores -- 2.6. Feedback on concepts and best practices -- 2.7. Conclusion -- 2.8. References -- 3. The Innovative Business Model of Daft Punk -- 3.1. Introduction -- 3.2. The definition of a business model -- 3.3. The business model of the music industry -- 3.3.1. Recorded music -- 3.3.2. Live music -- 3.3.3. Current business models -- 3.4. First historical attempts to break the model -- 3.4.1. Attempts concerning value propositions.

3.4.2. Attempts concerning value architectures -- 3.4.3. Attempts concerning business equations -- 3.5. Methodology -- 3.6. Daft Punk: an innovative model in electronic music -- 3.6.1. Innovation concerning the value proposition -- 3.6.2. Innovation concerning value architecture -- 3.6.3. Innovation concerning the business equation -- 3.7. Conclusion -- 3.8. Apppendices -- 3.9. References -- 4. Innovation through Visitor Experience in Museums: The Case of the Lascaux Caves -- 4.1. Introduction -- 4.2. Innovation through and in consumer experience -- 4.2.1. The concept of consumer experience -- 4.2.2. Innovation through the creation of memorable experiences -- 4.2.3. Innovating through UX Design or how to simplify the user experience -- 4.2.4. Innovating by analyzing and understanding the customer journey or how to personalize consumer experience -- 4.3. Heritage institutions: a sector in the throes of change -- 4.3.1. The weight of assets in the French economy -- 4.3.2. The economic structuring of the cultural heritage "industry" -- 4.4. A presentation of the Lascaux case and the analytical methodology -- 4.4.1. The case study methodology -- 4.4.2. The context of recent innovation in Lascaux: a brief account of 70 years of operation -- 4.4.3. Towards the creation of a center worthy of Lascaux's worldwide reputation -- 4.5. Innovation at the service of the visitor experience in Lascaux -- 4.5.1. Lascaux and the "prehistoric experience" -- 4.5.2. Visitor data to improve the individual experience -- 4.5.3. Data at the service of the organization's management -- 4.6. Conclusion -- 4.7. References -- 5. Tale Me, Green Innovation for the Textile Industry -- 5.1. Introduction -- 5.2. The theoretical framework -- 5.2.1. Green innovations: semantic diversity and definition -- 5.2.2. The nature of green innovation.

5.2.3. Blue Ocean strategy and the strategic framework -- 5.3. The research method -- 5.3.1. A sectoral qualitative study -- 5.3.2. Data collection and processing -- 5.4. The textile and clothing industry -- 5.4.1. Historical landmarks -- 5.4.2. Textiles, the flagship of French industry -- 5.4.3. Fashion is passing, waste remains10 -- 5.5. Ready to rent -- 5.5.1. Tale Me and clothing rental -- 5.5.2. Tale Me casts off -- 5.6. Case lessons and good practices -- 5.6.1. "From cradle to plateau" -- 5.6.2. Green Ocean strategy -- 5.7. Conclusion -- 5.8. References -- 6. Identity for Innovation: The Strategies of Cinema Sites -- 6.1. Introduction -- 6.2. Methodology -- 6.3. A changing industry -- 6.4. The identity and strategy of cinema sites: tensions in Nantes -- 6.4.1. The tension between city-center and periphery -- 6.4.2. The magic of cinema sites -- 6.4.3. Programs, the DNA of cinema sites -- 6.5. Conclusion -- 6.6. Glossary of terms -- 6.7. Sources and archives -- 6.8. References -- 7. Coopetition Between Architects: Designing Innovative Projects with Competitors -- 7.1. Introduction -- 7.2. Coopetition: an example of an innovative strategy -- 7.2.1. Presentation and definition of coopetition strategies -- 7.2.2. Different types of coopetition -- 7.3. Methodological choices -- 7.4. Presentation of the architecture sector -- 7.4.1. Architecture as a profession -- 7.4.2. Recent developments in the sector -- 7.5. The different types of coopetition between architects -- 7.5.1. Type 1: improving commercial prospecting -- 7.5.2. Type 2: reducing geographical distance -- 7.5.3. Type 3: a successful project from A to Z -- 7.6. Lessons learned and good practices -- 7.6.1. Choosing coopetitors -- 7.6.2. Managing coopetition -- 7.6.3. Exploiting the benefits -- 7.7. Conclusion -- 7.8. References -- List of Authors -- Index.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.