Creative Personnel Research Articles

Culture and Advertising Executions:

More than 2400 Japanese and US television commercials were analyzed to determine how soon, how long and how many times the brand, company name and product are presented. The results indicate significant differences between US and Japanese advertising. Cultural differences between Japan and the USA are identified that: (1) suggest reasons for differences in the television advertising and (2) provide guidance for advertising managers to direct, supervise, and evaluate the work of creative personnel. Japanese commercials identify the brand, company name or logo, and product or package later than US commercials. There are also substantial other differences in showing or mentioning these characteristics. These differences suggest that television advertising creative executions involving the timing of brand names, company names and products should not be routinely standardized in, or transferred between, Japan and the USA.

Culture and Advertising Executions: A Comparison of Selected Characteristics of Korean and US Television Commercials

More than 2,000 Korean and US television commercials were analysed to determine how soon, how long and how many times the brand, company name and product are presented. These variables represent important decisions that must be made by those who create television commercials. Significant differences between US and Korean television advertising were found. Cultural differences are identified that: (1) suggest reasons for differences in television advertising between countries and (2) provide guidance for international advertising managers who supervise creative personnel doing advertising in Korea and the US.

Lateral Entry into the Foreign Service: Opportunity Lost

Lateral entry was a point of major reform controversy in meeting the personnel management needs of postwar American diplomacy until the mid-1970s. From that time forward, the concept, when used at all in the Department of State, has been primarily associated with the Mid-Level Hiring Program for Women and Minority Group Members. Departmental statistics, except for the affirmative action program, do not reflect significant lateral entrance subsequent to 1976, when there was only one such entry. The abandonment of lateral entry as a method of obtaining the specialized expertise needed to cope with the complexities of American foreign policy may act to the continued detriment not only of the State Department but also of foreign policy itself. The dilemma of strengthening the State Department and the Foreign Service in its foreign policy role through the adoption of a creative personnel system remains unresolved. This article describes the several attempts at lateral entry since the 1950s. The authors contend that the technique was never fully accepted as a reform measure by the Foreign Service officer corps.

How autonomous is relative: popular music, the social formation and cultural struggle

Writing about popular music in 1977 from what I would describe as a ‘classical’ Marxist perspective, Steve Chapple and I proclaimed unequivocally that:The position of the music as an increasingly important cultural commodity within a consumer economy weakened any of the explicit anti-materialist content of the music.… Musicians and the creative personnel within the industry were integrated into an entertainment business now firmly part of the American corporate structure. (Chapple and Garofalo 1977, p. 300)In 1981, four short years later, British sociologist and music critic Simon Frith described the structure and functioning of the music industry in much the same terms that Chappie and I had put forth, but his analysis shifted the emphasis considerably. Declared Frith:Cultural commodities may support the contemporary power of capital, but they have their civilising moments, and even as the most effortless background music, rock is a source of vigour and exhilaration and of good feelings that are as necessary for the next morning's political struggle as for the next day's work. My argument is that rock fun is as much a quality of the music's use as of its form. (Frith 1981, pp. 264–5)Attempting to avoid what he saw as an economically reductive position, Frith de-emphasised the role of monopoly corporations in controlling the marketplace and shaping popular culture. In the tradition of ‘cultural’ Marxism, he focused instead, and somewhat optimistically, on the power of the consumer to reappropriate the music in unintended ways, to ‘resignify’ its meaning, if you will.

Internal Agency Relationships: Account Services and Creative Personnel

Abstract A mail survey was conducted among a sample of account and creative services personnel working in advertising agencies nationwide to determine areas of conflict in working relationships between these two groups. Additionally, respondents were asked to perform the same critical analysis of their colleagues within their own departments. Analysis of responses from 256 agency employees indicate that some disagreement between account management and creative services exists. Creative services personnel tended to be more critical of account management than account managers were of creative people. Results are explained by the differing perspectives of the generalist (i.e., account managers) and specialist (i.e., creative services) that must be brought together in an agency to produce effective advertising.

Dictionary of the Black Theatre: Broadway, Off-Broadway, and Selected Harlem Theatre

Documentation for approximately three hundred shows, from A Trip to Coontown (1898) to 1981's Dreamgirls, is provided in part I. The title of each show is followed by its theatre, opening date, number of performances, complete list of creative personnel, cast credits, and, where appropriate, a list of the show's songs. Each entry also contains a plot summary, a survey of critical comment, and, where significant, an analysis of the show's historical context. Part II includes biographical entries for major performers, writers, and directors, and notes on those organizations which encouraged the growth and development of black theatre in New York City. The Dictionary concludes with a chronology of all shows included in the text, a discography of black shows, and a selected bibliography of studies related to black theatre history and criticism.

Psychographics and Creativity

Abstract The present study views the area of psychographics from the perspective of the creative person. The major studies in the field have been conducted by researchers who assume psychographics has significant value in advertising creativity. However, little consultation with creative personnel has been done in arriving at this conclusion. The authors have assimilated the major findings on psychographics and organized it according to its value In creating advertising. In addition, copy supervisors at leading agencies were surveyed to determine their understanding the use of psychographics. The results of the survey indicated a gap between the value attributed to psychographics by researchers and the actual use of psychographics by creative personnel. The authors feel that psychographics offers a fresh approach to understanding the consumer. Its full value will only be realized. however, when psychographics is more fully understood by those with the task of communicating with the consumer.

Unanticipated Consequences of Organizational Coalitions: Ecumenical Cooperation and Civil Rights Policy

A study of denominational participation in the National Council of Churches illuminates the processes by which organizations reap consequences from their commitment to coalitions. This paper contends that NCC members experienced involvement in the civil rights movement, resulting in loss of members and reduction of financial support, especially for those denominations with heavy commitment to the South. When an organization forms a coalition with others who do not share its environmental commitments, those commitments may be neglected, causing resistance from the organization's environment. Merton (1936) long ago identified the general sources of unanticipated consequences of purposive social action, and Selznick (1949) applied this concept in organizational research, tracing consequences to their source in organizational commitments.' There is, however, need for further knowledge both of the kinds of organizational commitments which produce consequences and of the specific mechanisms which bring about such consequences. This paper reports an empirical study which throws light on the processes by which organizations may realize unanticipatt d consequences from their participation in, i.e., commitment to, coalitions. An organization joins a coalition expecting to gain some added resource for the implementation of organizational goals in an environment which may be indifferent or even hostile to those goals (Thompson and McEwen, 1958). Such resources include financial strength, creative personnel, public support, broader geographical representation, etc. To the extent that the coalition serves its purpose, members of the coalition become more secure in their environment. Even where specific goals of the coalition are achieved, however, there may be important unwanted consequences.2 For example, there may be negative repercussions for the pursuit of other goals or for the solution of crucial organizational problems. While gaining support from one element of the environment the organization may make itself vulnerable to another. Thus organizations by entering coalitions in search of security in their environment sometimes make themselves less secure.

The Management of Creative Personnel*

The Journal of Creative BehaviorVolume 3, Issue 4 p. 271-276 The Management of Creative Personnel* CARL GREGORY, Corresponding Author CARL GREGORY Professor of Business ManagementCalifornia State College, 6101 East Seventh Street, Long Beach, California, 90804.Search for more papers by this author CARL GREGORY, Corresponding Author CARL GREGORY Professor of Business ManagementCalifornia State College, 6101 East Seventh Street, Long Beach, California, 90804.Search for more papers by this author First published: Fall 1969 https://doi.org/10.1002/j.2162-6057.1969.tb00060.xCitations: 3 † We call your attention to the supplementary reading list at the end of this article. AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Citing Literature Volume3, Issue4Fall 1969Pages 271-276 RelatedInformation

Creativity: A Function for Computers or Executives?

Creative generation and evaluation of problem solving alternatives is a necessary function of progressive management. Yet much that is called “creative” is the result of routine combining and sorting of stated elements according to standard design principles. This mechanical creativity should be the function of computers and clerks, freeing executives for those non-systemized functions which require the exercise of human intuition. The firm able to acquire or identify creative personnel and couple them with mechanical facilities capable of performing the routine aspects of creativity will have a real and marketable competitive advantage.

Creativity: A Function for Computers or Executives?

Creative generation and evaluation of problem solving alternatives is a necessary function of progressive management. Yet much that is called “creative” is the result of routine combining and sorting of stated elements according to standard design principles. This mechanical creativity should be the function of computers and clerks, freeing executives for those non-systemized functions which require the exercise of human intuition. The firm able to acquire or identify creative personnel and couple them with mechanical facilities capable of performing the routine aspects of creativity will have a real and marketable competitive advantage.

Biographical data and the identification of creative research personnel.

Biographical data and the identification of creative research personnel.

Creativity categories as a factor in R and D staffing

In recruiting technical people, education, experience, and competency are required, but there is one more dimension which should be sought — a match between creative talent and the field of experience. Creative people can be divided into several categories, and their characteristics are discernable. Within these subdivisions of creative personnel, the proper mixture of creativity and field of experience must be achieved. An optimum staff distribution is presented, in which, ideally, the work of the organization would be more likely not only to remain on the R and D track set by management, but also to produce original work.

Walt Disney Studio—A War Plant<!--<xref ref-type="other" rid="fn1-10.5594_J08453">*</xref>-->

The fact that many peace-time industries and manufacturing plants have been converted practically 100 per cent into war plants manufacturing implements for war, is a well-known, not unusual fact. However, when a cartoon studio, which for many years has been engaged in creating whimsical entertainment for the screen, suddenly becomes a war plant, it is a somewhat more unusual fact. — From a studio whose yearly production program included 2 or 3 features, plus 24 short subjects, Walt Disney Productions has at this time no feature in work, and is having difficulty producing a minimum number of short subjects. All of this, of course, is caused by the fact that between 90 and 95 per cent of the facilities of the organization are today devoted to producing training films for the Navy, the Army Signal Corps, the Army Air Forces, the Coordinator of Inter-American Affairs, the Treasury Department, and other governmental agencies. — This “change-over” in product at the Walt Disney Studio has brought a set of problems that is not frequently encountered in the average war plant. There was no radical “change-over” of heavy machinery, or the installation of new dies and presses. It was mental rather than physical adjustment. — A studio and its personnel accustomed to working for 2 or 3 years on one picture were suddenly requisitioned to produce a film, twice feature length, in 4 to 6 months. The financial departments accustomed to budgeting pictures for ½ of a million to 1½ million dollars found themselves piecing out $12,000 and $15,000, and less, for production budgets. Creative personnel accustomed to racking their brains for a new switch on some problem near and dear to Donald Duck's personality found themselves commissioned to explain to men at Navy training bases all aspects of the functioning and maintenance of a gyroscope, and its relation to the over-all functioning of an aerial torpedo. — To accomplish all of these ends, then, has been the task. That it has been accomplished is evidenced by the films now in use in all branches of the service. That the results have been worth while is indicated in several ways, but in no way more satisfying than when a man in uniform stops at the studio and states that he viewed such-and-such a picture in a combat zone and adds, “.…it sure helped.”