Abstract. This paper advances a micro
theory of creative action by examining how
distinctive artists shield their idiosyncratic
styles from the isomorphic pressures of a
field. It draws on the cases of three
internationally recognized, distinctive
European film directors - Pedro Almodóvar
(Spain), Nanni Moretti (Italy) and Lars von
Trier (Denmark). We argue that in a cinema
field, artistic pressures for distinctiveness
along with business pressures for profits
drive filmmakers’ quest for optimal
distinctiveness. This quest seeks both
exclusive, unique style and inclusive,
audience-appealing artwork with legitimacy
in the field. Our theory of creative action
for optimal distinctiveness suggests that
film directors increase their control by
personally consolidating artistic and
production roles, by forming close
partnership with committed producer, and
by establishing own production company.
Ironically, to escape the iron cage of local
cinema fields, film directors increasingly
control the coupling of art and business,
hence forging their own "iron cage".
"[T]he unusual and paradoxical place that
Pedro [Almodóvar] has been able to find:
we are within the industry but we preserve
our peculiarity." (Agustín Almodóvar,
2001).
Optimal distinctiveness: "social identity is
viewed as reconciliation of opposing needs
for assimilation and differentiation from
others." (Marilynn Brewer, 1991)
