Richard Barrios
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195377347
- eISBN:
- 9780199864577
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377347.001.0001
- Subject:
- Music, Popular
This book chronicles the birth and early years of an art form — the musical film. When sound came to film in the 1920s, musicals led the way as the testing ground upon which sound film proved itself ...
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This book chronicles the birth and early years of an art form — the musical film. When sound came to film in the 1920s, musicals led the way as the testing ground upon which sound film proved itself — dauntlessly, intrepidly, sometimes artistically, often ineptly, through works and artists both familiar and forgotten: Al Jolson, the Oscar-winning Broadway Melody, director Ernst Lubitsch, the aberrant Golden Dawn, many more. After immense popularity, the musical market collapsed almost overnight as oversaturated audiences began to feel the effects of the Depression. There was nearly three years of down time, and then the genre returned, phoenix-like, with the triumphant 42nd Street. After seeming to contradict the national mood, musicals came to symbolize the country's recovery from crisis; in 1934, they assumed their final form with the enforcement of the Motion Picture Production Code. They would continue successfully for decades, but that early pioneer spirit and willingness to experiment and take chances were now mainly gone. Posterity has mainly misunderstood these films and underestimated their importance, yet their echoes and experiments resonate into the twenty-first century, and they form an intensely vital national heritage. Through meticulous research and analysis based in reception theory, this book reclaims the films and their creators, as well as the culture that embraced, rejected, then reconnected with them.Less
This book chronicles the birth and early years of an art form — the musical film. When sound came to film in the 1920s, musicals led the way as the testing ground upon which sound film proved itself — dauntlessly, intrepidly, sometimes artistically, often ineptly, through works and artists both familiar and forgotten: Al Jolson, the Oscar-winning Broadway Melody, director Ernst Lubitsch, the aberrant Golden Dawn, many more. After immense popularity, the musical market collapsed almost overnight as oversaturated audiences began to feel the effects of the Depression. There was nearly three years of down time, and then the genre returned, phoenix-like, with the triumphant 42nd Street. After seeming to contradict the national mood, musicals came to symbolize the country's recovery from crisis; in 1934, they assumed their final form with the enforcement of the Motion Picture Production Code. They would continue successfully for decades, but that early pioneer spirit and willingness to experiment and take chances were now mainly gone. Posterity has mainly misunderstood these films and underestimated their importance, yet their echoes and experiments resonate into the twenty-first century, and they form an intensely vital national heritage. Through meticulous research and analysis based in reception theory, this book reclaims the films and their creators, as well as the culture that embraced, rejected, then reconnected with them.
Richard Barrios
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195377347
- eISBN:
- 9780199864577
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377347.003.0018
- Subject:
- Music, Popular
With 1934 and the newly enforced Motion Picture Production Code, the musical left behind its older, more haphazard identity for a streamlined, often trivial future. Films such as Wonder Bar and ...
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With 1934 and the newly enforced Motion Picture Production Code, the musical left behind its older, more haphazard identity for a streamlined, often trivial future. Films such as Wonder Bar and Murder at the Vanities demonstrated the frankness no longer to be possible under the Code, while Shirley Temple became a symbol of a cleaned-up family-oriented genre. Opera resurged with Grace Moore and One Night of Love, while the Astaire/Rogers Gay Divorcee showed that stylishness could defeat censorship, even as much of the early enterprising spirit was now fading away.Less
With 1934 and the newly enforced Motion Picture Production Code, the musical left behind its older, more haphazard identity for a streamlined, often trivial future. Films such as Wonder Bar and Murder at the Vanities demonstrated the frankness no longer to be possible under the Code, while Shirley Temple became a symbol of a cleaned-up family-oriented genre. Opera resurged with Grace Moore and One Night of Love, while the Astaire/Rogers Gay Divorcee showed that stylishness could defeat censorship, even as much of the early enterprising spirit was now fading away.
Tyler Beck Goodspeed
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199846658
- eISBN:
- 9780199950126
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199846658.003.0002
- Subject:
- Economics and Finance, Economic Systems
This chapter delves into the first Keynesian and Hayekian variations on the Wicksellian theme, namely, Keynes’s A Treatise on Money (1930) and Hayek’s Prices and Production (1931). We explain that in ...
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This chapter delves into the first Keynesian and Hayekian variations on the Wicksellian theme, namely, Keynes’s A Treatise on Money (1930) and Hayek’s Prices and Production (1931). We explain that in both works, the authors integrate the role of relative prices fundamentally into Wicksell’s cumulative process and thereby seek to develop Wicksell’s theory into a theory of the business cycle. The market–natural rate distinction remains, as does the potential divergence between saving and investment, which for both authors drives the cycle. Ultimately, disequilibrium in the two models stems from an unresolved conflict within the structure of production, a rivalry between producers of consumer and investment goods corresponding strictly to the failure of adjustment between saving and investment. In this, the Wicksellian two-rates framework is decisive, constituting a disequilibrating trip wire within capital markets that touches off a progressive sequence of ultimately re-equilibrating secular price changes. Nonetheless, both models contain flaws, which the chapter touches upon.Less
This chapter delves into the first Keynesian and Hayekian variations on the Wicksellian theme, namely, Keynes’s A Treatise on Money (1930) and Hayek’s Prices and Production (1931). We explain that in both works, the authors integrate the role of relative prices fundamentally into Wicksell’s cumulative process and thereby seek to develop Wicksell’s theory into a theory of the business cycle. The market–natural rate distinction remains, as does the potential divergence between saving and investment, which for both authors drives the cycle. Ultimately, disequilibrium in the two models stems from an unresolved conflict within the structure of production, a rivalry between producers of consumer and investment goods corresponding strictly to the failure of adjustment between saving and investment. In this, the Wicksellian two-rates framework is decisive, constituting a disequilibrating trip wire within capital markets that touches off a progressive sequence of ultimately re-equilibrating secular price changes. Nonetheless, both models contain flaws, which the chapter touches upon.
Tyler Beck Goodspeed
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199846658
- eISBN:
- 9780199950126
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199846658.003.0005
- Subject:
- Economics and Finance, Economic Systems
This chapter tackles Hayek’s Pure Theory of Capital (1941), and various elucidations of the “Ricardo effect.” Here, the chapter examines how Hayek absorbed many of Sraffa’s criticisms and moved away ...
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This chapter tackles Hayek’s Pure Theory of Capital (1941), and various elucidations of the “Ricardo effect.” Here, the chapter examines how Hayek absorbed many of Sraffa’s criticisms and moved away from the “average period of production” concept to focus instead on time-rates of return on investment, which, we argue, bear a close resemblance to Keynes’s marginal efficiency of capital. Moreover, Hayek’s revision of the theory of capital presented in Prices and Production frees him from the post-Keynesian critique of Neoclassical capital theory, as exhaustively laid out in the Cambridge capital controversies. Freed of the dual albatrosses of reswitching and capital reversing, Hayek develops a theory of general equilibrium that, unlike modern intertemporal general equilibrium, points to a truly dynamic theory of economic change as a process in historical time. The chapter concludes by pointing out how this vision has inherent affinities with Keynes’s and suggests that Hayek failed to appreciate these affinities because he chose to conduct his analysis in strictly real terms and under the assumption of full employment. Relaxing these assumptions, we see that Hayek and Keynes were in many ways theorizing on opposite sides of the same, Wicksellian coin.Less
This chapter tackles Hayek’s Pure Theory of Capital (1941), and various elucidations of the “Ricardo effect.” Here, the chapter examines how Hayek absorbed many of Sraffa’s criticisms and moved away from the “average period of production” concept to focus instead on time-rates of return on investment, which, we argue, bear a close resemblance to Keynes’s marginal efficiency of capital. Moreover, Hayek’s revision of the theory of capital presented in Prices and Production frees him from the post-Keynesian critique of Neoclassical capital theory, as exhaustively laid out in the Cambridge capital controversies. Freed of the dual albatrosses of reswitching and capital reversing, Hayek develops a theory of general equilibrium that, unlike modern intertemporal general equilibrium, points to a truly dynamic theory of economic change as a process in historical time. The chapter concludes by pointing out how this vision has inherent affinities with Keynes’s and suggests that Hayek failed to appreciate these affinities because he chose to conduct his analysis in strictly real terms and under the assumption of full employment. Relaxing these assumptions, we see that Hayek and Keynes were in many ways theorizing on opposite sides of the same, Wicksellian coin.
Melissa Dickson
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474443647
- eISBN:
- 9781474477055
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474443647.001.0001
- Subject:
- Literature, Criticism/Theory
Aladdin, Sinbad, Ali Baba and the Forty Thieves, Scheherazade winding out her intricate tales to win her nightly stay of execution: the stories of the Arabian Nights are a familiar and much-loved ...
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Aladdin, Sinbad, Ali Baba and the Forty Thieves, Scheherazade winding out her intricate tales to win her nightly stay of execution: the stories of the Arabian Nights are a familiar and much-loved part of the English literary inheritance. But how did these tales become so much a part of the British cultural landscape? This book identifies the nineteenth century as the beginning of the large-scale absorption of the Arabian Nights into British literature and culture. It explores how this period used the stories as a means of articulating its own experiences of a rapidly changing environment. It also argues for a view of the tales not as a depiction of otherness, but as a site of recognition and imaginative exchange between East and West, in a period when such common ground was rarely found.Less
Aladdin, Sinbad, Ali Baba and the Forty Thieves, Scheherazade winding out her intricate tales to win her nightly stay of execution: the stories of the Arabian Nights are a familiar and much-loved part of the English literary inheritance. But how did these tales become so much a part of the British cultural landscape? This book identifies the nineteenth century as the beginning of the large-scale absorption of the Arabian Nights into British literature and culture. It explores how this period used the stories as a means of articulating its own experiences of a rapidly changing environment. It also argues for a view of the tales not as a depiction of otherness, but as a site of recognition and imaginative exchange between East and West, in a period when such common ground was rarely found.
Sarah Atkinson
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748693580
- eISBN:
- 9781474444668
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748693580.001.0001
- Subject:
- Film, Television and Radio, Film
From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no ...
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From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.Less
From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.
Rick Delbridge
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198292333
- eISBN:
- 9780191684906
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198292333.001.0001
- Subject:
- Business and Management, Organization Studies, HRM / IR
Much is stated and written about the new world of work but how much do we know about the contemporary workplace? What influence have Japanese management techniques (Just-in-Time Production and Total ...
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Much is stated and written about the new world of work but how much do we know about the contemporary workplace? What influence have Japanese management techniques (Just-in-Time Production and Total Quality Management, for example) had on the way work is organized in ‘transplants’, and more broadly in other firms and sectors? Have the systems and mechanisms of control changed radically in recent years, or are they much the same as they have always been? This book is in a long tradition of ethnographic research in industrial sociology and management/labour studies. Not only does it offer rich empirical data on the lived reality of work and a management practice that may share little in common with that found in the textbooks, it also raises a number of important issues about the best ways to understand the complex and changing nature of work.Less
Much is stated and written about the new world of work but how much do we know about the contemporary workplace? What influence have Japanese management techniques (Just-in-Time Production and Total Quality Management, for example) had on the way work is organized in ‘transplants’, and more broadly in other firms and sectors? Have the systems and mechanisms of control changed radically in recent years, or are they much the same as they have always been? This book is in a long tradition of ethnographic research in industrial sociology and management/labour studies. Not only does it offer rich empirical data on the lived reality of work and a management practice that may share little in common with that found in the textbooks, it also raises a number of important issues about the best ways to understand the complex and changing nature of work.
John Billheimer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177427
- eISBN:
- 9780813177441
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177427.003.0012
- Subject:
- Film, Television and Radio, Film
This chapter examines the impact of external forces on the film Hitchcock often claimed to be his personal favorite. The Production Code office found little fault with the tale of a serial killer ...
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This chapter examines the impact of external forces on the film Hitchcock often claimed to be his personal favorite. The Production Code office found little fault with the tale of a serial killer returning to his small-town roots. The War Production Board, by putting a limit of $5,000 on construction costs using new materials in Hollywood pictures, forced Hitchcock and screenwriter Thornton Wilder to shoot much of the film on location in Santa Rosa, California, adding greatly to the small-town feel of the film.Less
This chapter examines the impact of external forces on the film Hitchcock often claimed to be his personal favorite. The Production Code office found little fault with the tale of a serial killer returning to his small-town roots. The War Production Board, by putting a limit of $5,000 on construction costs using new materials in Hollywood pictures, forced Hitchcock and screenwriter Thornton Wilder to shoot much of the film on location in Santa Rosa, California, adding greatly to the small-town feel of the film.
John Billheimer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177427
- eISBN:
- 9780813177441
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177427.001.0001
- Subject:
- Film, Television and Radio, Film
The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard ...
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The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard four-letter words as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed ‘excessively lustful’ kissing from the screen, and ensured that no criminal went unpunished. Censors demanded an average of twenty changes, ranging from trivial to mind-boggling, on each of Alfred Hitchcock’s films during his most productive years. No production escaped these changes, which rarely improved the finished film. Code reviewers dictated the ending of’ Rebecca, shortened the shower scene in’ Psycho, absolved Cary Grant of guilt in’ Suspicion, edited Cole Porter’s lyrics in’ Stage Fright, and decided which shades should be drawn in’ Rear Window. Nevertheless, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming (and occasionally tricking) the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. The director’s priorities in dealing with the censors highlight both his theories of suspense and the single-mindedness of Code officials. Hitchcock and the Censors’ traces the forces that led to the Production Code and describes Hitchcock’s interactions with Code officials on a film-by-film basis as he fought to protect his creations, bargaining with Code reviewers and sidestepping censorship to produce a lifetime of memorable films.Less
The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard four-letter words as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed ‘excessively lustful’ kissing from the screen, and ensured that no criminal went unpunished. Censors demanded an average of twenty changes, ranging from trivial to mind-boggling, on each of Alfred Hitchcock’s films during his most productive years. No production escaped these changes, which rarely improved the finished film. Code reviewers dictated the ending of’ Rebecca, shortened the shower scene in’ Psycho, absolved Cary Grant of guilt in’ Suspicion, edited Cole Porter’s lyrics in’ Stage Fright, and decided which shades should be drawn in’ Rear Window. Nevertheless, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming (and occasionally tricking) the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. The director’s priorities in dealing with the censors highlight both his theories of suspense and the single-mindedness of Code officials. Hitchcock and the Censors’ traces the forces that led to the Production Code and describes Hitchcock’s interactions with Code officials on a film-by-film basis as he fought to protect his creations, bargaining with Code reviewers and sidestepping censorship to produce a lifetime of memorable films.
Joan Costa-Font and Mario Macis (eds)
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035651
- eISBN:
- 9780262337915
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035651.001.0001
- Subject:
- Economics and Finance, History of Economic Thought
The growing field of social economics explores how individual behavior is affected by group-level influences, extending the approach of mainstream economics to include broader social motivations and ...
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The growing field of social economics explores how individual behavior is affected by group-level influences, extending the approach of mainstream economics to include broader social motivations and incentives. This book offers a rich and rigorous selection of current work in the field, focusing on some of the most active research areas. Topics covered include culture, gender, ethics, and philanthropic behavior.
Social economics grows out of dissatisfaction with a purely individualistic model of human behavior. This book shows how mainstream economics is expanding its domain beyond market and price mechanisms to recognize a role for cultural and social factors. Some chapters, in the tradition of Gary Becker, attempt to extend the economics paradigm to explain other social phenomena; others, following George Akerlof’s approach, incorporate sociological and psychological assumptions to explain economic behavior. Loosely organized by theme—Social Preferences; Culture, Values, and Norms; and Networks and Social Interactions”—the chapters address a range of subjects, including gender differences in political decisions, “moral repugnance” as a constraint on markets, charitable giving by the super-rich, value diversity within a country, and the influence of children on their parents’ social networks.
Contributors
Mireia Borrell-Porta, Sjoerd Beugelsdijk, Joan Costa-Font, Elwyn Davies, Julio Jorge Elias, Marcel Fafchamps, Luigi Guiso, Odelia Heizler, Ayal Kimhi, Mariko J. Klasing, Martin Ljunge, Mario Macis, Mark Ottoni-Wilhelm, Abigail Payne, Kelly Ragan, Jana Sadeh, Azusa Sato, Kimberley Scharf, Sarah Smith, Mirco Tonin, Michael Vlassopoulos, Evguenia Winschel, Philipp ZahnLess
The growing field of social economics explores how individual behavior is affected by group-level influences, extending the approach of mainstream economics to include broader social motivations and incentives. This book offers a rich and rigorous selection of current work in the field, focusing on some of the most active research areas. Topics covered include culture, gender, ethics, and philanthropic behavior.
Social economics grows out of dissatisfaction with a purely individualistic model of human behavior. This book shows how mainstream economics is expanding its domain beyond market and price mechanisms to recognize a role for cultural and social factors. Some chapters, in the tradition of Gary Becker, attempt to extend the economics paradigm to explain other social phenomena; others, following George Akerlof’s approach, incorporate sociological and psychological assumptions to explain economic behavior. Loosely organized by theme—Social Preferences; Culture, Values, and Norms; and Networks and Social Interactions”—the chapters address a range of subjects, including gender differences in political decisions, “moral repugnance” as a constraint on markets, charitable giving by the super-rich, value diversity within a country, and the influence of children on their parents’ social networks.
Contributors
Mireia Borrell-Porta, Sjoerd Beugelsdijk, Joan Costa-Font, Elwyn Davies, Julio Jorge Elias, Marcel Fafchamps, Luigi Guiso, Odelia Heizler, Ayal Kimhi, Mariko J. Klasing, Martin Ljunge, Mario Macis, Mark Ottoni-Wilhelm, Abigail Payne, Kelly Ragan, Jana Sadeh, Azusa Sato, Kimberley Scharf, Sarah Smith, Mirco Tonin, Michael Vlassopoulos, Evguenia Winschel, Philipp Zahn
Hiroyuki Odagiri and Akira Goto
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198288022
- eISBN:
- 9780191684555
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198288022.003.0003
- Subject:
- Economics and Finance, South and East Asia
Japan's economy after World War II was devastated. Its manufacturing industry fell sharply and the food supply dropped by up to 51%. Inflation was high and the money supply was out of control. ...
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Japan's economy after World War II was devastated. Its manufacturing industry fell sharply and the food supply dropped by up to 51%. Inflation was high and the money supply was out of control. Several policies were implemented to help Japan's economy to recover. These include the Priority Production Policy, which provided subsidies to manufacturing firms, especially to the coal and steel industries. Price control was implemented to ease the effect of inflation. Japan's economy started to recover between the 1950s and early 1970s, with the economy growing by around 10% annually. The technological development of Japan lagged after World War II; the country coped by importing machinery and equipment, hiring American consultants, buying inventions, and sending top engineers abroad.Less
Japan's economy after World War II was devastated. Its manufacturing industry fell sharply and the food supply dropped by up to 51%. Inflation was high and the money supply was out of control. Several policies were implemented to help Japan's economy to recover. These include the Priority Production Policy, which provided subsidies to manufacturing firms, especially to the coal and steel industries. Price control was implemented to ease the effect of inflation. Japan's economy started to recover between the 1950s and early 1970s, with the economy growing by around 10% annually. The technological development of Japan lagged after World War II; the country coped by importing machinery and equipment, hiring American consultants, buying inventions, and sending top engineers abroad.
Besnik Pula
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781503605138
- eISBN:
- 9781503605985
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9781503605138.001.0001
- Subject:
- Political Science, Political Economy
Today, by a number of measures, the ex-socialist economies of Central and Eastern Europe are among the most globalized in the world. This book argues that the origins of Central and Eastern Europe’s ...
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Today, by a number of measures, the ex-socialist economies of Central and Eastern Europe are among the most globalized in the world. This book argues that the origins of Central and Eastern Europe’s heavily transnationalized economies should be sought in their socialist past and the efforts of reformers in the 1970s and 1980s to expand ties between domestic industry and transnational corporations (TNCs). The book’s comparative-historical analysis examines the trajectories of six socialist and postsocialist economies, Bulgaria, Czech Republic, Hungary, Poland, Romania, Slovakia, and Slovenia. The second part of the book focuses on the region’s deepening specialization in the 2000s as a TNC-dominated transnational manufacturing hub. It identifies three international market roles that the region’s state came to occupy in the transformation: assembly platform, intermediate producer, and combined. It explains divergence within the region through the comparative analysis of the politics of institutional adjustment after socialism.Less
Today, by a number of measures, the ex-socialist economies of Central and Eastern Europe are among the most globalized in the world. This book argues that the origins of Central and Eastern Europe’s heavily transnationalized economies should be sought in their socialist past and the efforts of reformers in the 1970s and 1980s to expand ties between domestic industry and transnational corporations (TNCs). The book’s comparative-historical analysis examines the trajectories of six socialist and postsocialist economies, Bulgaria, Czech Republic, Hungary, Poland, Romania, Slovakia, and Slovenia. The second part of the book focuses on the region’s deepening specialization in the 2000s as a TNC-dominated transnational manufacturing hub. It identifies three international market roles that the region’s state came to occupy in the transformation: assembly platform, intermediate producer, and combined. It explains divergence within the region through the comparative analysis of the politics of institutional adjustment after socialism.
Toni Pressley-Sanon
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780813054407
- eISBN:
- 9780813053141
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813054407.001.0001
- Subject:
- Society and Culture, Latin American Studies
Istwa across the Water draws on the historian and poet Kamau Brathwaite’s concept of tidalectics as cultural exchange that is patterned after the back and forth movement of the ocean’s waves, to ...
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Istwa across the Water draws on the historian and poet Kamau Brathwaite’s concept of tidalectics as cultural exchange that is patterned after the back and forth movement of the ocean’s waves, to explore Haitian cultural production through the lenses of history and memory by way of the Vodou concept of the Marasa or twinned entities. Istwa across the Water takes on Haiti’s complementary or twinned sites of cultural production in the West African area of Dahomey/Benin Republic and the Central West African Kôngo region from which many Haitians originate. It discusses oral and visual art traditions from both sides of the Atlantic divide as a means to explore the dynamic and constantly evolving exchange of physical and spiritual energies between Haiti and its “motherlands” (sites of origin) as Spirit seeks to restore the balance that was lost during the transatlantic trade and slave era.Less
Istwa across the Water draws on the historian and poet Kamau Brathwaite’s concept of tidalectics as cultural exchange that is patterned after the back and forth movement of the ocean’s waves, to explore Haitian cultural production through the lenses of history and memory by way of the Vodou concept of the Marasa or twinned entities. Istwa across the Water takes on Haiti’s complementary or twinned sites of cultural production in the West African area of Dahomey/Benin Republic and the Central West African Kôngo region from which many Haitians originate. It discusses oral and visual art traditions from both sides of the Atlantic divide as a means to explore the dynamic and constantly evolving exchange of physical and spiritual energies between Haiti and its “motherlands” (sites of origin) as Spirit seeks to restore the balance that was lost during the transatlantic trade and slave era.
Karen C. Pinto
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780226126968
- eISBN:
- 9780226127019
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226127019.003.0013
- Subject:
- Earth Sciences and Geography, Cartography
Chapter Thirteen, “Conclusion” wraps up the discussion by discussing the meaning of maps and their multitude of places, spaces, and gazes. It sums up the findings of the book and its new ...
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Chapter Thirteen, “Conclusion” wraps up the discussion by discussing the meaning of maps and their multitude of places, spaces, and gazes. It sums up the findings of the book and its new methodological approaches to Islamic maps. It asserts that Islamic cartography can only be decoded through in-depth analysis of map slices.Less
Chapter Thirteen, “Conclusion” wraps up the discussion by discussing the meaning of maps and their multitude of places, spaces, and gazes. It sums up the findings of the book and its new methodological approaches to Islamic maps. It asserts that Islamic cartography can only be decoded through in-depth analysis of map slices.
John Billheimer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177427
- eISBN:
- 9780813177441
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177427.003.0020
- Subject:
- Film, Television and Radio, Film
This chapter describes the relationship between Hitchcock and Jack L. Warner. Warner Bros. had agreed to serve as a distributor for pictures made by Transatlantic films with the proviso that ...
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This chapter describes the relationship between Hitchcock and Jack L. Warner. Warner Bros. had agreed to serve as a distributor for pictures made by Transatlantic films with the proviso that Hitchcock direct one Warner’s film for each Transatlantic film. When Transatlantic floundered, Jack L. Warner restructured the deal so that Hitchcock would direct four films for Warner Bros., receiving $3,000 a week as his own producer and points on those films that turned a profit. The deal worked out well for Hitchcock, earning him roughly $250,000 per film, a considerable increase over the $50,000 Selznick had paid him for Rebecca and making him one of the best-paid directors in Hollywood. Subsequent chapters discuss the impacts of censorship on each of the four films Hitchcock made for Warner Bros.Less
This chapter describes the relationship between Hitchcock and Jack L. Warner. Warner Bros. had agreed to serve as a distributor for pictures made by Transatlantic films with the proviso that Hitchcock direct one Warner’s film for each Transatlantic film. When Transatlantic floundered, Jack L. Warner restructured the deal so that Hitchcock would direct four films for Warner Bros., receiving $3,000 a week as his own producer and points on those films that turned a profit. The deal worked out well for Hitchcock, earning him roughly $250,000 per film, a considerable increase over the $50,000 Selznick had paid him for Rebecca and making him one of the best-paid directors in Hollywood. Subsequent chapters discuss the impacts of censorship on each of the four films Hitchcock made for Warner Bros.
John Billheimer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177427
- eISBN:
- 9780813177441
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177427.003.0025
- Subject:
- Film, Television and Radio, Film
This chapter describes Hitchcock’s working relationships during his most productive years as a director. Under terms negotiated by his agent, Lew Wasserman, ownership of the films he directed for ...
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This chapter describes Hitchcock’s working relationships during his most productive years as a director. Under terms negotiated by his agent, Lew Wasserman, ownership of the films he directed for Paramount reverted to Hitchcock eight years after their initial release, eventually pushing his earnings well beyond those of his peers. As Hitchcock’s star ascended, the influence of Joe Breen and the Production Code declined. Joe Breen’s health failed, and he was replaced in 1954 by his assistant, Geoffrey Shurlock, who was more accommodating than his predecessor with directors he admired, like Hitchcock. The Code itself received a major makeover in 1956 with the rescinding of flat bans on illegal drugs, abortion, white slavery, and kidnapping. Restrictions on such long-forbidden words as damn and hell were also lifted, and some directors, like Otto Preminger, openly challenged the Code and released films, notably The Moon Is Blue, without a Code Seal. Subsequent chapters include detailed discussions on the impacts of censorship on each of the eleven films Hitchcock made during his glory years.Less
This chapter describes Hitchcock’s working relationships during his most productive years as a director. Under terms negotiated by his agent, Lew Wasserman, ownership of the films he directed for Paramount reverted to Hitchcock eight years after their initial release, eventually pushing his earnings well beyond those of his peers. As Hitchcock’s star ascended, the influence of Joe Breen and the Production Code declined. Joe Breen’s health failed, and he was replaced in 1954 by his assistant, Geoffrey Shurlock, who was more accommodating than his predecessor with directors he admired, like Hitchcock. The Code itself received a major makeover in 1956 with the rescinding of flat bans on illegal drugs, abortion, white slavery, and kidnapping. Restrictions on such long-forbidden words as damn and hell were also lifted, and some directors, like Otto Preminger, openly challenged the Code and released films, notably The Moon Is Blue, without a Code Seal. Subsequent chapters include detailed discussions on the impacts of censorship on each of the eleven films Hitchcock made during his glory years.
John Billheimer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177427
- eISBN:
- 9780813177441
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177427.003.0028
- Subject:
- Film, Television and Radio, Film
The Trouble with Harry represented a departure for Hitchcock; the film is a black comedy in which the consistently dry humor undercuts any suspense. The Code office objected to John Michael Hayes’s ...
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The Trouble with Harry represented a departure for Hitchcock; the film is a black comedy in which the consistently dry humor undercuts any suspense. The Code office objected to John Michael Hayes’s witty dialogue as well as the illegitimacy of the child of the Shirley MacLaine character and the description of an unsatisfactory wedding night. Hitchcock solved the problems by altering the script so that the boy’s parents were married before his father was killed and revised the objectionable description of the widowed Shirley MacLaine’s wedding night by having her new husband fail to show up because a horoscope warned him ‘not to start any new projects on that day.’ These changes satisfied the Production Code office, which allowed most of Hayes’s salty dialogue to remain as written.Less
The Trouble with Harry represented a departure for Hitchcock; the film is a black comedy in which the consistently dry humor undercuts any suspense. The Code office objected to John Michael Hayes’s witty dialogue as well as the illegitimacy of the child of the Shirley MacLaine character and the description of an unsatisfactory wedding night. Hitchcock solved the problems by altering the script so that the boy’s parents were married before his father was killed and revised the objectionable description of the widowed Shirley MacLaine’s wedding night by having her new husband fail to show up because a horoscope warned him ‘not to start any new projects on that day.’ These changes satisfied the Production Code office, which allowed most of Hayes’s salty dialogue to remain as written.
John Billheimer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177427
- eISBN:
- 9780813177441
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177427.003.0040
- Subject:
- Film, Television and Radio, Film
The comprehensive movie rating system arrived in November 1968, when Jack Valenti scuttled the Production Code and replaced it with a four-letter system (G, M, R, and X) designed to provide parental ...
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The comprehensive movie rating system arrived in November 1968, when Jack Valenti scuttled the Production Code and replaced it with a four-letter system (G, M, R, and X) designed to provide parental guidance and (in theory, but not in practice) free filmmakers from the interfering scissors of censors. But the men in charge of the newly formed Code and Rating Administration were the same censors who had previously enforced the Production Code. These men were used to dealing with producers and directors. And with an X rating estimated to cause a 50 percent decline in attendance, and an R rating a 20 percent decline, it was only natural for producers and directors to confer with board members to determine what sort of cuts would be needed to convert an X rating to an R, or turn an R rating into an M. To the untrained eye, this dealing between producers and board members looked very much like censorship. At least, that was the way it appeared to Stephen Farber, a board intern in 1967 who found that almost one-third of the movies produced in 1969 had been reedited to achieve the rating desired by the distribution company.Less
The comprehensive movie rating system arrived in November 1968, when Jack Valenti scuttled the Production Code and replaced it with a four-letter system (G, M, R, and X) designed to provide parental guidance and (in theory, but not in practice) free filmmakers from the interfering scissors of censors. But the men in charge of the newly formed Code and Rating Administration were the same censors who had previously enforced the Production Code. These men were used to dealing with producers and directors. And with an X rating estimated to cause a 50 percent decline in attendance, and an R rating a 20 percent decline, it was only natural for producers and directors to confer with board members to determine what sort of cuts would be needed to convert an X rating to an R, or turn an R rating into an M. To the untrained eye, this dealing between producers and board members looked very much like censorship. At least, that was the way it appeared to Stephen Farber, a board intern in 1967 who found that almost one-third of the movies produced in 1969 had been reedited to achieve the rating desired by the distribution company.
John Billheimer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177427
- eISBN:
- 9780813177441
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177427.003.0043
- Subject:
- Film, Television and Radio, Film
There is little in Hitchcock’s final film that could not have been filmed ten years earlier under the Production Code. Double entendres between two of the lead actors, Barbara Harris and Bruce Dern, ...
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There is little in Hitchcock’s final film that could not have been filmed ten years earlier under the Production Code. Double entendres between two of the lead actors, Barbara Harris and Bruce Dern, along with a smattering of swear words, are the only elements that might have been questioned by the Code censors. Critical reviews were mixed, but the film did well at the box office and ended with Barbara Harris winking at the camera, a wink that Hitchcock appropriated for his own image in the ad campaign, which featured him winking at the audience from inside a crystal ball, a fitting end to over fifty years of collaboration with a grateful audience.Less
There is little in Hitchcock’s final film that could not have been filmed ten years earlier under the Production Code. Double entendres between two of the lead actors, Barbara Harris and Bruce Dern, along with a smattering of swear words, are the only elements that might have been questioned by the Code censors. Critical reviews were mixed, but the film did well at the box office and ended with Barbara Harris winking at the camera, a wink that Hitchcock appropriated for his own image in the ad campaign, which featured him winking at the audience from inside a crystal ball, a fitting end to over fifty years of collaboration with a grateful audience.
E. Dawn Hall
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474411127
- eISBN:
- 9781474444620
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411127.001.0001
- Subject:
- Film, Television and Radio, Film
Over her multi-film career, the American independent filmmaker Kelly Reichardt has established a highly individual perspectives on questions of gender, feminism, socioeconomics and sexual ...
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Over her multi-film career, the American independent filmmaker Kelly Reichardt has established a highly individual perspectives on questions of gender, feminism, socioeconomics and sexual orientation, set within an aesthetic framework that is guided by the low-budget techniques of ‘slow cinema,’ minimalism and neorealism. ReFocus: The Films of Kelly Reichardt argues that Reichardt’s films have a distinctive look due to stylistic and aesthetic choices prompted by production limitations; Reichardt has embraced the intensive labor involved with low budget filmmaking, establishing signature auteur characteristics. In this close reading of her feature films and experimental shorts, including production methods, E. Dawn Hall defines Reichardt’s auteur characteristics, arguing that she offers a contemporary and sustainable model for independent filmmakers in America. By chronicling Reichardt’s career, ReFocus: The Films of Kelly Reichardt attempts to draw conclusions about women’s career longevity in the independent sector. Through a comprehensive study of production methodology, this book positions Reichardt’s filmmaking as a choice to remain independent and low-budget, highlighting the gendered dimensions of labor, creativity, and challenges contextualized within contemporary industry practices.Less
Over her multi-film career, the American independent filmmaker Kelly Reichardt has established a highly individual perspectives on questions of gender, feminism, socioeconomics and sexual orientation, set within an aesthetic framework that is guided by the low-budget techniques of ‘slow cinema,’ minimalism and neorealism. ReFocus: The Films of Kelly Reichardt argues that Reichardt’s films have a distinctive look due to stylistic and aesthetic choices prompted by production limitations; Reichardt has embraced the intensive labor involved with low budget filmmaking, establishing signature auteur characteristics. In this close reading of her feature films and experimental shorts, including production methods, E. Dawn Hall defines Reichardt’s auteur characteristics, arguing that she offers a contemporary and sustainable model for independent filmmakers in America. By chronicling Reichardt’s career, ReFocus: The Films of Kelly Reichardt attempts to draw conclusions about women’s career longevity in the independent sector. Through a comprehensive study of production methodology, this book positions Reichardt’s filmmaking as a choice to remain independent and low-budget, highlighting the gendered dimensions of labor, creativity, and challenges contextualized within contemporary industry practices.
