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.
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.
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.
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.
Susan Helper and Mari Sako
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199695683
- eISBN:
- 9780191738265
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695683.003.0006
- Subject:
- Business and Management, Innovation, Business History
Alfred Chandler attributed the rise of the vertically integrated corporation in the twentieth century to improvements in transportation and communication. In contrast, many have argued that further ...
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Alfred Chandler attributed the rise of the vertically integrated corporation in the twentieth century to improvements in transportation and communication. In contrast, many have argued that further advances in transportation and communication have made vertical integration obsolete in recent years, replacing it with modularity, outsourcing, and networking. This chapter unpacks this apparent puzzle by regarding technological improvements in transportation and communication as theoretically neutral with respect to the degree of vertical integration. We argue that the key concepts and issues in supply chain management that Chandler highlighted remain highly relevant today. We integrate Chandler’s detailed historical perspective on the evolution of the “visible hand” of managerial governance with more recent theories from organization economics and from engineering, yielding the following insights. First, aligning incentives of buyers and suppliers is important in achieving throughput and assured supply, but asset ownership is neither necessary nor sufficient for this. Second, vertical integration (and disintegration) decisions affect the internal operation of the firm and its future path. Third, firms need to design their value chains in such a way as to achieve coordination without information overload. The chapter demonstrates the continuing power of these insights in three phases over the last century. In the first phase (with the rise of mass production), Chandler himself noted a subtle array of make-and-buy decisions. In the second phase (with the rise of lean production), several varieties of nonintegration (e.g., exit vs. voice) persisted because of the specific ways in which firms combined incentive alignment and information flow. In the third (“New Economy”) phase, management of information and material flows through the supply chain remains an important source of competitive advantage. In particular, disintermediation as a form of vertical integration, and successful outsourcing require investment in technical expertise over a wide range of technological fields and coordination of knowledge to manage suppliers (see, e.g.,Clark and Fujimoto, 1991; Brusoni and Prencipe, 2001; Brusoni, 2003).By noting that neither externalization through outsourcing nor flattening of managerial hierarchy is the same as decentralization, the chapter provides theoretical and empirical bases for the continuing importance of Chandler’s principles in managing supply chains.Less
Alfred Chandler attributed the rise of the vertically integrated corporation in the twentieth century to improvements in transportation and communication. In contrast, many have argued that further advances in transportation and communication have made vertical integration obsolete in recent years, replacing it with modularity, outsourcing, and networking. This chapter unpacks this apparent puzzle by regarding technological improvements in transportation and communication as theoretically neutral with respect to the degree of vertical integration. We argue that the key concepts and issues in supply chain management that Chandler highlighted remain highly relevant today. We integrate Chandler’s detailed historical perspective on the evolution of the “visible hand” of managerial governance with more recent theories from organization economics and from engineering, yielding the following insights. First, aligning incentives of buyers and suppliers is important in achieving throughput and assured supply, but asset ownership is neither necessary nor sufficient for this. Second, vertical integration (and disintegration) decisions affect the internal operation of the firm and its future path. Third, firms need to design their value chains in such a way as to achieve coordination without information overload. The chapter demonstrates the continuing power of these insights in three phases over the last century. In the first phase (with the rise of mass production), Chandler himself noted a subtle array of make-and-buy decisions. In the second phase (with the rise of lean production), several varieties of nonintegration (e.g., exit vs. voice) persisted because of the specific ways in which firms combined incentive alignment and information flow. In the third (“New Economy”) phase, management of information and material flows through the supply chain remains an important source of competitive advantage. In particular, disintermediation as a form of vertical integration, and successful outsourcing require investment in technical expertise over a wide range of technological fields and coordination of knowledge to manage suppliers (see, e.g.,Clark and Fujimoto, 1991; Brusoni and Prencipe, 2001; Brusoni, 2003).By noting that neither externalization through outsourcing nor flattening of managerial hierarchy is the same as decentralization, the chapter provides theoretical and empirical bases for the continuing importance of Chandler’s principles in managing supply chains.
Mollie Gregory
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780813166223
- eISBN:
- 9780813166759
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813166223.003.0003
- Subject:
- Film, Television and Radio, Film
Movies projected women’s “proper place”: they did not come to anyone’s rescue; they were wives and mothers. Stuntwomen’s work decreased. Labor unions and guilds were formed—the Screen Actors Guild, ...
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Movies projected women’s “proper place”: they did not come to anyone’s rescue; they were wives and mothers. Stuntwomen’s work decreased. Labor unions and guilds were formed—the Screen Actors Guild, the Writers Guild, the Directors Guild. White men managed the studios and the guilds, controlled the work, ran the stunts, doubled for women, and, in blackface, doubled for minority actors. To enhance their stars’ profiles, studios demanded secrecy regarding stunt players who doubled them in action scenes. The Motion Picture Production Code delivered “morals” to movies. A few stuntwomen, such as Helen Thurston, succeeded in action roles (Destry Rides Again, 1939).Less
Movies projected women’s “proper place”: they did not come to anyone’s rescue; they were wives and mothers. Stuntwomen’s work decreased. Labor unions and guilds were formed—the Screen Actors Guild, the Writers Guild, the Directors Guild. White men managed the studios and the guilds, controlled the work, ran the stunts, doubled for women, and, in blackface, doubled for minority actors. To enhance their stars’ profiles, studios demanded secrecy regarding stunt players who doubled them in action scenes. The Motion Picture Production Code delivered “morals” to movies. A few stuntwomen, such as Helen Thurston, succeeded in action roles (Destry Rides Again, 1939).
Jacob M. Baum
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780252042195
- eISBN:
- 9780252050930
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042195.003.0002
- Subject:
- Religion, History of Christianity
This chapter begins part 1 of the study by attending to the production of worship practices in fifteenth and early sixteenth century Germany as a political economic problem. The narrative of the ...
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This chapter begins part 1 of the study by attending to the production of worship practices in fifteenth and early sixteenth century Germany as a political economic problem. The narrative of the Reformation as a de-sensualizing force relies on the construction of late medieval Christianity as intensely ritualistic and hypersensual: particularly during the rite of the Mass, late medieval worship mobilized not only ostentatious gestures, images, and textiles, but also bells, organs, choirs, incense, and a complement of expensive liturgical vessels to overwhelm churchgoers with a multi-sensory theatrical spectacle. However, as systematic scrutiny of church inventories shows, this level of sensuous worship was an expensive proposition and, as such, was something that only the wealthiest urban churches could hope to approximate. In reality, producing sensuous worship before the Reformation was much more variegated than commonly assumed.Less
This chapter begins part 1 of the study by attending to the production of worship practices in fifteenth and early sixteenth century Germany as a political economic problem. The narrative of the Reformation as a de-sensualizing force relies on the construction of late medieval Christianity as intensely ritualistic and hypersensual: particularly during the rite of the Mass, late medieval worship mobilized not only ostentatious gestures, images, and textiles, but also bells, organs, choirs, incense, and a complement of expensive liturgical vessels to overwhelm churchgoers with a multi-sensory theatrical spectacle. However, as systematic scrutiny of church inventories shows, this level of sensuous worship was an expensive proposition and, as such, was something that only the wealthiest urban churches could hope to approximate. In reality, producing sensuous worship before the Reformation was much more variegated than commonly assumed.
William D. Romanowski
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780195387841
- eISBN:
- 9780199950188
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195387841.003.0010
- Subject:
- Religion, Religion and Society
The focus of this chapter is twofold. First, to change industry perceptions, the Broadcasting and Film Commission launched a high-profile film awards program that would become the public face of the ...
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The focus of this chapter is twofold. First, to change industry perceptions, the Broadcasting and Film Commission launched a high-profile film awards program that would become the public face of the changes taking place within the Protestant agency. Second, under new leadership, the BFC tried to fully integrate its West Coast operation into the agency’s overall strategy in order to facilitate genuine dialogue between the church and entertainment industries. In a parallel move, the Legion of Decency adopted a new name and posture; the two church agencies began offering joint film awards. These events set the stage for extensive church cooperation with the film industry in finally bringing the Production Code Era to an end.Less
The focus of this chapter is twofold. First, to change industry perceptions, the Broadcasting and Film Commission launched a high-profile film awards program that would become the public face of the changes taking place within the Protestant agency. Second, under new leadership, the BFC tried to fully integrate its West Coast operation into the agency’s overall strategy in order to facilitate genuine dialogue between the church and entertainment industries. In a parallel move, the Legion of Decency adopted a new name and posture; the two church agencies began offering joint film awards. These events set the stage for extensive church cooperation with the film industry in finally bringing the Production Code Era to an end.
William D. Romanowski
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780195387841
- eISBN:
- 9780199950188
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195387841.003.0005
- Subject:
- Religion, Religion and Society
This chapter shows that in the early 1930s Protestant leaders sought a national policy that was not aimed at curbing artistic expression, but at opening the market for movies of high moral and ...
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This chapter shows that in the early 1930s Protestant leaders sought a national policy that was not aimed at curbing artistic expression, but at opening the market for movies of high moral and artistic quality. They were convinced that guaranteed exhibition gave the studios less incentive to produce high-quality films and restricted independent production. Legislation curtailing block booking, they believed, could correct this, and also remedy Hollywood’s perceived lack of artistic integrity by restoring a free market. The Federal Council’s entanglement with the MPPDA had impaired its leadership, however. With Protestant relations in jeopardy, Will Hays bolstered his alliance with Catholics, inviting them to help draw up a new Production Code in 1930 in what was a visible sign of the erosion of Protestant power.Less
This chapter shows that in the early 1930s Protestant leaders sought a national policy that was not aimed at curbing artistic expression, but at opening the market for movies of high moral and artistic quality. They were convinced that guaranteed exhibition gave the studios less incentive to produce high-quality films and restricted independent production. Legislation curtailing block booking, they believed, could correct this, and also remedy Hollywood’s perceived lack of artistic integrity by restoring a free market. The Federal Council’s entanglement with the MPPDA had impaired its leadership, however. With Protestant relations in jeopardy, Will Hays bolstered his alliance with Catholics, inviting them to help draw up a new Production Code in 1930 in what was a visible sign of the erosion of Protestant power.
William D. Romanowski
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780195387841
- eISBN:
- 9780199950188
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195387841.003.0008
- Subject:
- Religion, Religion and Society
Events in the late 1950s that led the National Council of Churches to seek a new role for the church role in Hollywood are the concern of this chapter. To engage the media industries, a new ...
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Events in the late 1950s that led the National Council of Churches to seek a new role for the church role in Hollywood are the concern of this chapter. To engage the media industries, a new Broadcasting and Film Commission (BFC) was created with offices in New York and Hollywood. Producers were emboldened, and the Production Code eventually revised after the Supreme Court ruled in 1952 that movies were entitled to free speech protection. After clashing with producers over depictions of Protestant characters in several movies, the BFC’s West Coast Office director publicly condemned Hollywood for its blatant disregard of the Code and hinted at a possible Protestant boycott. Realizing that divergent outlooks existed within its agency, the BFC leadership began restructuring its West Coast operation and launched a study of the role of the church in relation to the mass media.Less
Events in the late 1950s that led the National Council of Churches to seek a new role for the church role in Hollywood are the concern of this chapter. To engage the media industries, a new Broadcasting and Film Commission (BFC) was created with offices in New York and Hollywood. Producers were emboldened, and the Production Code eventually revised after the Supreme Court ruled in 1952 that movies were entitled to free speech protection. After clashing with producers over depictions of Protestant characters in several movies, the BFC’s West Coast Office director publicly condemned Hollywood for its blatant disregard of the Code and hinted at a possible Protestant boycott. Realizing that divergent outlooks existed within its agency, the BFC leadership began restructuring its West Coast operation and launched a study of the role of the church in relation to the mass media.
Ronny Regev
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781469636504
- eISBN:
- 9781469636771
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469636504.003.0002
- Subject:
- History, American History: 20th Century
The first chapter concentrates on a small group of men employed as studio head-producers. It argues that they were the Henry Fords of the industry, responsible for turning Hollywood into an effective ...
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The first chapter concentrates on a small group of men employed as studio head-producers. It argues that they were the Henry Fords of the industry, responsible for turning Hollywood into an effective modern entertainment machine. People like Irving Thalberg, David O. Selznick, and Darryl Zanuck arrived on the scene in the early 1920s and successfully reshaped the studio from an informal workplace to a well-thought-out operation with function-specific divisions and tasks. Their newly fashioned Hollywood lots served as intermediary spaces, accommodating the demands of profit seeking corporate executives as well as artists. The chapter shows how, on a day-to-day basis, head producers translated the demands and visions of each group to the other. It demonstrates how these producers served as brokers, embodying the contradictions of the system while closely supervising the production process of every picture and the studio as a whole.Less
The first chapter concentrates on a small group of men employed as studio head-producers. It argues that they were the Henry Fords of the industry, responsible for turning Hollywood into an effective modern entertainment machine. People like Irving Thalberg, David O. Selznick, and Darryl Zanuck arrived on the scene in the early 1920s and successfully reshaped the studio from an informal workplace to a well-thought-out operation with function-specific divisions and tasks. Their newly fashioned Hollywood lots served as intermediary spaces, accommodating the demands of profit seeking corporate executives as well as artists. The chapter shows how, on a day-to-day basis, head producers translated the demands and visions of each group to the other. It demonstrates how these producers served as brokers, embodying the contradictions of the system while closely supervising the production process of every picture and the studio as a whole.
Jenny Lin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526132604
- eISBN:
- 9781526139047
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132604.003.0003
- Subject:
- Art, Art History
Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers ...
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Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers the rising political tensions between Hong Kong and Shanghai, as Hong Kong was handed over from British to mainland Chinese rule in 1997. The chapter discusses a 1997 Shanghai Tang advertisement featuring Chinese actress Gong Li, addressing how the image signals the return of class-based society, while sanitizing mainland China’s immediate socialist past. This chapter also examines the powerful influence of Shanghai Tang’s founder, art collector Sir David Tang, on the international dissemination of contemporary Chinese art, exploring key Shanghainese painters promoted by Tang, including Yu Youhan, Wang Ziwei and Ding Yi. Referencing these artists’ connections to Shanghai Tang, and also the French fashion brand, Christian Dior, the chapter theorizes the rise of a contemporary Chinese art/fashion system. The final section focuses on Shanghai-based sculptor Liu Jianhua, who has been supported by both Tang and Christian Dior, and the artist’s subversion of mainland China’s presumed role as “the factory of the world” through his ceramic-based practice.Less
Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers the rising political tensions between Hong Kong and Shanghai, as Hong Kong was handed over from British to mainland Chinese rule in 1997. The chapter discusses a 1997 Shanghai Tang advertisement featuring Chinese actress Gong Li, addressing how the image signals the return of class-based society, while sanitizing mainland China’s immediate socialist past. This chapter also examines the powerful influence of Shanghai Tang’s founder, art collector Sir David Tang, on the international dissemination of contemporary Chinese art, exploring key Shanghainese painters promoted by Tang, including Yu Youhan, Wang Ziwei and Ding Yi. Referencing these artists’ connections to Shanghai Tang, and also the French fashion brand, Christian Dior, the chapter theorizes the rise of a contemporary Chinese art/fashion system. The final section focuses on Shanghai-based sculptor Liu Jianhua, who has been supported by both Tang and Christian Dior, and the artist’s subversion of mainland China’s presumed role as “the factory of the world” through his ceramic-based practice.
