Richard E. Caves

Richard E. Caves
Born(1931-11-01)November 1, 1931
Akron, Ohio
DiedNovember 22, 2019(2019-11-22) (aged 88)
NationalityAmerican
InstitutionHarvard University
FieldMotion picture economics
Doctoral
advisor		Gottfried Haberler
Doctoral
students		Michael Porter
Elhanan Helpman
Peter Navarro

Richard Earl Caves (November 1, 1931 – November 22, 2019) was an American economist, and Professor of Economics at Harvard University.[1] He is known for his work on multinational corporations,[2] industrial organization[3] and the creative industries.[4] He is known within the film economics field as the author of a definitive book on the organization of creative industries.[5]

Education and Academic Career

Caves obtained his BA in economics at Oberlin College in 1953. He continued his studies at Harvard University, where he obtained his MA in economics in 1956, and his PhD in 1958.[6][7]

In 1957, Caves embarked on his academic career in the Department of Economics, chaired by Joe S. Bain, at the University of California, Berkeley. In 1962, he moved back to Harvard University, where he was appointed Professor of Economics and lectured in industrial organization and international trade.[6] He served as Department Chairman from 1966 to 1969, and as Chairman of the Ph.D programme in Business Economics from 1984 to 1997. He was also appointed as the George Gund Professor of Economics and Business Administration from 1986 to 1997, and subsequently as the Nathaniel Ropes Research Professor of Political Economy, from 1997 on. He retired from Harvard in 2003, and became Emeritus Professor of Economics.[7] He also sat on the editorial board of the Review of Economics and Statistics from 1992 to 1996.

Consultancy Work

Caves acted as a consultant on various topics to various bodies. He was an adviser on international monetary problems for the US Council of Economic Advisers in 1961, and deputy to the Special Assistant to the President on foreign trade policy in the same year. From 1963-4 he was a member of the Review Committee for Balance of Payments Statistics at the US Bureau of the Budget (also known as the Bernstein Committee). In 1964, he was appointed as a member of the White House Task Force on Foreign Economic Policy. From 1972-3, he acted as a consultant to the Council of Ontario Universities, and from 1975-6 he was a consultant to the Royal Commission on Corporate Concentration.[citation needed]

Contributions to Creative Industries

Caves specialized in industrial and political economics, and authored several books on industrial efficiency, productivity, and competition. Using this as background, Caves went on to provide new insights into the economics of the artistic and creative endeavour by examining the organization of creative industries. In a seminal work, Creative Industries: Contracts Between Art and Commerce, Caves examined a wide range of visual and performing arts – including cinema and television, theatre, music, book publishing, and toys and games – in order to investigate how the theory of contracts and the logic of economic organization affect the production of "simple creative goods" (like art), as well as more "complex goods" (such as theatre plays or motion pictures), which require teams of artists with diverse talents.

동굴의 분석에 따르면, 미술품 수집가와 영화 관람객은 소비자, 갤러리 소유자는 "문지기" 그리고 비평가들은 "인증자"이다. 이런 점에서 그의 작품은 미국의 사회학자 하워드 S에 가깝다. 20년 전 베커는 예술세계의 이론을 내세웠다.[8] 그러나 그는 모든 창조 산업의 조직과 관행이 7개의 "경제적 속성"에 따라 분석될 수 있다고 이론화했기 때문에 그의 접근방식은 엄밀히 말하면 경제학자의 것이었다. (1) 시간 빠르기, 모든 창조적 작업이 마감시한에 따라 특정 날짜까지 완료되어야 한다는 사실, (2) 두 창조적 제품이 동일하지 않고 그 결과 표준화될 수 없다는 뜻의 무한 다양성, (3) c의 성패가 걸린 불확실한 시장의 질을 언급하는 것은 아무도 모른다.재생 제품은 미리 결정할 수 없다; (4) 공인된 인재를 통해 시장 불확실성에 대처하기 위한 수단으로서 조직과 개인 직원 모두의 순위인 리스트/B 목록, (5) 모든 창의적인 제품을 어느 정도까지는 서로 다른 기술을 가진 직원들 간의 협력에 의존한다; (6)) 예술을 위한 예술, 즉 창작품은 미적 또는 예술적 투입물에 의존하기 때문에 다른 대량 생산 상품과 다르다는 의미, 그리고 (7) 영화 스튜디오, 출판사 및 기타 창조적 산업 조직들에 의한 저작권의 집계를 언급하는 ars longa.

출판 이후 수년간, Cowers의 창조산업에 관한 작업에 대한 관심은 사회학자 Paul DiMaggio의 초기 논평에서 "문화경제학, 예술과 문화의 사회학, 예술과 문화정책 분석의 학제간 분야에 있어 절실히 필요한 시금석이 될 것을 약속한다"고 말했다. 경제지리학, 정치학, 인류학, 문화학 등의 학자들은 모두 미국과 유럽을 비롯한 아시아 지역(특히 일본)에서도 서로 다른 형태의 창조산업에 대한 자체 분석의 출발점으로 동굴의 연구를 받아들였다.

Awards and Prizes

  • Wells Prize, Harvard University, 1957–8
  • Ford Foundation Faculty Research Fellowship, 1959–60
  • Gerard C. Henderson Prize, Harvard Law School, 1966
  • Fellow, American Academy of Arts and Sciences, 1968
  • Galbraith Prize, 1976, 1981
  • Kenan Enterprise Award, 1990
  • Doctor of Economic Science, University of London, 1999
  • Eminent Scholar, Academy of International Business, 1999
  • Distinguished Scholar Award, Academy of International Business, 1998
  • Doctor of Economic Science, University of London, 1999
  • Distinguished Fellow, Industrial Organization Society, 2001.[10]

Selected publications

Articles, a selection:

  • Caves, Richard E. "International corporations: The industrial economics of foreign investment." Economica (1971): 1-27.
  • Caves, Richard E. "Multinational firms, competition, and productivity in host-country markets." Economica (1974): 176-193.
  • Caves, Richard E., and Michael E. Porter. "From entry barriers to mobility barriers: Conjectural decisions and contrived deterrence to new competition*." The Quarterly Journal of Economics (1977): 241-261.
  • Caves, Richard E. "Industrial organization and new findings on the turnover and mobility of firms." Journal of economic literature (1998): 1947-1982.

References

  1. ^ "Richard E Caves". Harvard.edu. Retrieved May 3, 2016.
  2. ^ Lundvall, Bengt-Åke, ed. National systems of innovation: Toward a theory of innovation and interactive learning. Vol. 2. Anthem Press, 2010.
  3. ^ Shane, Scott, and Sankaran Venkataraman. "The promise of entrepreneurship as a field of research." Academy of management review 25.1 (2000): 217-226.
  4. ^ Scott, W. Richard. Institutions and organizations: Ideas and interests. Sage, 2008.
  5. ^ Richard Caves, Creative Industries: Contracts Between Art and Commerce. Harvard, CT.: Harvard University Press, 2000.
  6. ^ a b Richard E. Caves, Marc J. Roberts, Brookings Institution (1974). Regulating the product: quality and variety. p. 269
  7. ^ a b H. W. de Jong, William G. Shepherd(2007) 산업 기구의 개척자: 경쟁과 독점의 경제성은 어떻게 형성되었는가. 페이지 250
  8. ^ 하워드 S. 베커, 아트 월드. 버클리 & 로스앤젤레스: 1982년 캘리포니아 대학교 출판부.
  9. ^ Brian Moeran, The Business of Creativity: 창의성의 비즈니스: 가치의 인류학을 향하여. 캘리포니아 주 월넛 크릭: Left Coast Press, 2014.
  10. ^ https://web.northeastern.edu/ios/aboutios.htm