Yannis Tzioumakis
- Published in print:
- 2006
- Published Online:
- September 2012
- ISBN:
- 9780748618668
- eISBN:
- 9780748670802
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748618668.003.0010
- Subject:
- Film, Television and Radio, Film
This chapter argues that in the 2000s American independent cinema lost some of its cache. Overproduction, the move of the Hollywood studios in the independent sector and an increasing ...
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This chapter argues that in the 2000s American independent cinema lost some of its cache. Overproduction, the move of the Hollywood studios in the independent sector and an increasing institutionalisation since the l990s made American independent cinema a less prestigious and ‘important’ enterprise compared to the previous two decades. With films made outside the US enjoying noteworthy commercial success at the North American box office and with both the independent distributors and the studios’ specialty labels participating in their distribution, the chapter proposes a shift from the term independent to the less ‘charged‘ and more easily definable term ‘specialty film’ to account for these developmentsLess
This chapter argues that in the 2000s American independent cinema lost some of its cache. Overproduction, the move of the Hollywood studios in the independent sector and an increasing institutionalisation since the l990s made American independent cinema a less prestigious and ‘important’ enterprise compared to the previous two decades. With films made outside the US enjoying noteworthy commercial success at the North American box office and with both the independent distributors and the studios’ specialty labels participating in their distribution, the chapter proposes a shift from the term independent to the less ‘charged‘ and more easily definable term ‘specialty film’ to account for these developments
Christopher Hodges
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780199282555
- eISBN:
- 9780191700217
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199282555.003.0007
- Subject:
- Law, EU Law
This Part of the book critically evaluates the various mechanisms that are adopted in the different vertical and horizontal product sectors. The objective of this part is to analyse the following ...
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This Part of the book critically evaluates the various mechanisms that are adopted in the different vertical and horizontal product sectors. The objective of this part is to analyse the following points. Firstly, to identify the purpose and nature of each technique. Secondly, to find out the situations in which each technique is used. Thirdly, to find out to whom are the obligations applied. Fourthly, to ask how effective each individual technique is in contributing to safety. The general categories of techniques that are examined here are: control of the design process; pre-marketing assessment requirements; control of the manufacturing environment and process; post-marketing requirements on producers, distributors, and the authorities; and the requirements of users. These mechanisms are ordered in this sequence to follow the chronological path in which products are designed, developed, and marketed.Less
This Part of the book critically evaluates the various mechanisms that are adopted in the different vertical and horizontal product sectors. The objective of this part is to analyse the following points. Firstly, to identify the purpose and nature of each technique. Secondly, to find out the situations in which each technique is used. Thirdly, to find out to whom are the obligations applied. Fourthly, to ask how effective each individual technique is in contributing to safety. The general categories of techniques that are examined here are: control of the design process; pre-marketing assessment requirements; control of the manufacturing environment and process; post-marketing requirements on producers, distributors, and the authorities; and the requirements of users. These mechanisms are ordered in this sequence to follow the chronological path in which products are designed, developed, and marketed.
Paul MacAvoy
- Published in print:
- 2001
- Published Online:
- October 2013
- ISBN:
- 9780300083811
- eISBN:
- 9780300129328
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300083811.001.0001
- Subject:
- Economics and Finance, Economic History
Over the past six decades, federal regulatory agencies have attempted different strategies to regulate the natural gas industry in the United States. All have been unsuccessful, resulting in ...
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Over the past six decades, federal regulatory agencies have attempted different strategies to regulate the natural gas industry in the United States. All have been unsuccessful, resulting in nationwide gas shortages or massive gas surpluses, and costing the nation billions of dollars. Additionally, partial deregulation has led the regulatory agency to become more involved in controlling individual transactions among gas producers, distributors, and consumers. This book demonstrates that no affected group has gained from these experiments in public control and that all participants would gain from complete deregulation. Although losses have declined with partial deregulation in recent years, current regulatory practices still limit the growth of supply through the transmission system. This history of the regulation of natural gas is a cautionary tale for other natural resource or network industries that are regulated or are about to be regulated.Less
Over the past six decades, federal regulatory agencies have attempted different strategies to regulate the natural gas industry in the United States. All have been unsuccessful, resulting in nationwide gas shortages or massive gas surpluses, and costing the nation billions of dollars. Additionally, partial deregulation has led the regulatory agency to become more involved in controlling individual transactions among gas producers, distributors, and consumers. This book demonstrates that no affected group has gained from these experiments in public control and that all participants would gain from complete deregulation. Although losses have declined with partial deregulation in recent years, current regulatory practices still limit the growth of supply through the transmission system. This history of the regulation of natural gas is a cautionary tale for other natural resource or network industries that are regulated or are about to be regulated.
C. Y. Ferdinand
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198206521
- eISBN:
- 9780191677199
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198206521.003.0003
- Subject:
- History, British and Irish Modern History
This chapter describes the commercial infrastructure of a provincial newspaper. It explains that there are several levels of administration in the distribution of any successful ...
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This chapter describes the commercial infrastructure of a provincial newspaper. It explains that there are several levels of administration in the distribution of any successful mid-eighteenth-century provincial newspaper. It notes that at the top are the owners, proprietors, or partners, such as Benjamin Collins, who might themselves (especially earlier in the century) print, manage, and sell the paper locally; at a second level are the managers who are employed in editing, bookkeeping, printing, and so on; the newsagents in the towns and villages within the paper's circulation area; the distributors, who are appointed to carry bundles of newspapers to those agents and deliver papers along the route; and finally there are the postmen, newsmen, carriers, and hawkers whose job is to put the papers in the hands of the readers.Less
This chapter describes the commercial infrastructure of a provincial newspaper. It explains that there are several levels of administration in the distribution of any successful mid-eighteenth-century provincial newspaper. It notes that at the top are the owners, proprietors, or partners, such as Benjamin Collins, who might themselves (especially earlier in the century) print, manage, and sell the paper locally; at a second level are the managers who are employed in editing, bookkeeping, printing, and so on; the newsagents in the towns and villages within the paper's circulation area; the distributors, who are appointed to carry bundles of newspapers to those agents and deliver papers along the route; and finally there are the postmen, newsmen, carriers, and hawkers whose job is to put the papers in the hands of the readers.
Rob Stone
- Published in print:
- 2007
- Published Online:
- July 2012
- ISBN:
- 9780719072000
- eISBN:
- 9781781701171
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719072000.003.0017
- Subject:
- Film, Television and Radio, Film
This chapter describes the film La ardilla roja, which is about a suicidal ex-rocker called J who takes advantage of Sofía's amnesia to convince her to be his girlfriend. It discusses the process of ...
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This chapter describes the film La ardilla roja, which is about a suicidal ex-rocker called J who takes advantage of Sofía's amnesia to convince her to be his girlfriend. It discusses the process of scripting, casting, shooting and editing the film. Medem made his cast understand the subjective truths of their fabricated characters by endowing them with genuine emotion. La ardilla roja, which was shot in nine weeks on a budget of 200 million pesetas, was ultimately to be screened at Cannes. Medem designed a fresh, natural look for the film that affected a realistic contrast to the subjectivities of the protagonists and the range of flamboyant point-of-view shots underwater, inside jukeboxes, from the perspective of the squirrel. Having initially gone begging for an American distributor, La ardilla roja was eventually sold to ancillary markets in twenty-seven countries, including all of Europe, New Zealand, Australia, Hong Kong and Cuba.Less
This chapter describes the film La ardilla roja, which is about a suicidal ex-rocker called J who takes advantage of Sofía's amnesia to convince her to be his girlfriend. It discusses the process of scripting, casting, shooting and editing the film. Medem made his cast understand the subjective truths of their fabricated characters by endowing them with genuine emotion. La ardilla roja, which was shot in nine weeks on a budget of 200 million pesetas, was ultimately to be screened at Cannes. Medem designed a fresh, natural look for the film that affected a realistic contrast to the subjectivities of the protagonists and the range of flamboyant point-of-view shots underwater, inside jukeboxes, from the perspective of the squirrel. Having initially gone begging for an American distributor, La ardilla roja was eventually sold to ancillary markets in twenty-seven countries, including all of Europe, New Zealand, Australia, Hong Kong and Cuba.
Fiona Ford
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199797615
- eISBN:
- 9780199979738
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199797615.003.0016
- Subject:
- Music, Popular, History, Western
In August 1929, British Talking Pictures released a part-talking feature called The Crimson Circle. This early British sound feature was a re-working of the German silent film Der rote Kreis ...
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In August 1929, British Talking Pictures released a part-talking feature called The Crimson Circle. This early British sound feature was a re-working of the German silent film Der rote Kreis (directed by Friedrich Zelnik in 1928). Recorded using a sound-on-disc process, the rejuvenated Crimson Circle had dialogue sections (directed by Sinclair Hill) interspersed within a synchronised soundtrack of music and sound effects devised by the Austrian composer Edmund Meisel, notorious for his propulsive accompaniment to the German release of Battleship Potemkin (Sergei Eisenstein, 1926). Neither the print nor the discs from The Crimson Circle are known to survive, but aspects of the lost soundtrack can be glimpsed from surviving documentary evidence and by comparison with Meisel’s extant film scores and soundtracks.Less
In August 1929, British Talking Pictures released a part-talking feature called The Crimson Circle. This early British sound feature was a re-working of the German silent film Der rote Kreis (directed by Friedrich Zelnik in 1928). Recorded using a sound-on-disc process, the rejuvenated Crimson Circle had dialogue sections (directed by Sinclair Hill) interspersed within a synchronised soundtrack of music and sound effects devised by the Austrian composer Edmund Meisel, notorious for his propulsive accompaniment to the German release of Battleship Potemkin (Sergei Eisenstein, 1926). Neither the print nor the discs from The Crimson Circle are known to survive, but aspects of the lost soundtrack can be glimpsed from surviving documentary evidence and by comparison with Meisel’s extant film scores and soundtracks.
Christopher Hodges
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780199282555
- eISBN:
- 9780191700217
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199282555.003.0010
- Subject:
- Law, EU Law
Ensuring that consumers have sufficient and adequate information on the safety of the products that they use, so as to be able to avoid known hazards, has long been recognized as a central function ...
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Ensuring that consumers have sufficient and adequate information on the safety of the products that they use, so as to be able to avoid known hazards, has long been recognized as a central function of regulation. This text analyses that which category of people has the best opportunity to prevent particular accidents: designers, makers, distributors, or users. Research demonstrates that instructions and warnings are almost always much less effective as preventive measures than design changes. Market theory argues that information on safe use should be provided to users since the availability of information is otherwise shared asymmetrically. It is, however, the user who has to observe and apply the information given. Communication of information from producer to consumer signifies, in non-legal terms, the transfer of responsibility for risk.Less
Ensuring that consumers have sufficient and adequate information on the safety of the products that they use, so as to be able to avoid known hazards, has long been recognized as a central function of regulation. This text analyses that which category of people has the best opportunity to prevent particular accidents: designers, makers, distributors, or users. Research demonstrates that instructions and warnings are almost always much less effective as preventive measures than design changes. Market theory argues that information on safe use should be provided to users since the availability of information is otherwise shared asymmetrically. It is, however, the user who has to observe and apply the information given. Communication of information from producer to consumer signifies, in non-legal terms, the transfer of responsibility for risk.
Michael G. Ankerich
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780813136905
- eISBN:
- 9780813141381
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813136905.003.0010
- Subject:
- Film, Television and Radio, Film
This chapter focuses on Mae Murray’s most prolific and successful period in her film career. With such films as The Gilded Lily, Peacock Alley, and Broadway Rose, Mae could do no wrong. She and her ...
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This chapter focuses on Mae Murray’s most prolific and successful period in her film career. With such films as The Gilded Lily, Peacock Alley, and Broadway Rose, Mae could do no wrong. She and her husband, Robert Z. Leonard, established their own film company, Tiffany, and held control over every aspect of her films: casting, editing, costuming, and photography. Following several scandals that rocked the foundations of Hollywood, including the death of starlet Virginia Rappe and the murder of director William Desmond Taylor, a new organization of self-regulation was formed, the Motion Picture Producers and Distributors of America. Murray was among the first to lash out at the new organization. Censorship, she believed, ran the risk of robbing the industry of its spontaneity.Less
This chapter focuses on Mae Murray’s most prolific and successful period in her film career. With such films as The Gilded Lily, Peacock Alley, and Broadway Rose, Mae could do no wrong. She and her husband, Robert Z. Leonard, established their own film company, Tiffany, and held control over every aspect of her films: casting, editing, costuming, and photography. Following several scandals that rocked the foundations of Hollywood, including the death of starlet Virginia Rappe and the murder of director William Desmond Taylor, a new organization of self-regulation was formed, the Motion Picture Producers and Distributors of America. Murray was among the first to lash out at the new organization. Censorship, she believed, ran the risk of robbing the industry of its spontaneity.
Alan Rosenthal
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9781784993023
- eISBN:
- 9781526109804
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784993023.003.0015
- Subject:
- Film, Television and Radio, Film
The chapters details a series of letters exchanged between the author and his friend and Canadian distributor Gary Gladman. The letters mostly deal with Gladman’s responses to Rosenthal’s tentative ...
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The chapters details a series of letters exchanged between the author and his friend and Canadian distributor Gary Gladman. The letters mostly deal with Gladman’s responses to Rosenthal’s tentative film proposals, and why Gladman continually advocates the making of a series over the making of a one off documentary. Besides the general discussion the chapter also sets out the pros and cons of working with a professional distributor.Less
The chapters details a series of letters exchanged between the author and his friend and Canadian distributor Gary Gladman. The letters mostly deal with Gladman’s responses to Rosenthal’s tentative film proposals, and why Gladman continually advocates the making of a series over the making of a one off documentary. Besides the general discussion the chapter also sets out the pros and cons of working with a professional distributor.
Julia Knight
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039683
- eISBN:
- 9780252097775
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039683.003.0017
- Subject:
- Film, Television and Radio, Film
This chapter examines the role of distributors and a range of issues that come into play in getting films from their makers to their potential audiences by focusing on the work of the UK women's ...
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This chapter examines the role of distributors and a range of issues that come into play in getting films from their makers to their potential audiences by focusing on the work of the UK women's distributor Cinema of Women (COW). COW was founded in 1979 by six women—Mandy Rose, Fern Presant, Audrey Summerhill, Caroline Spry, Melanie Chail, and Maggie Sellers—who had been “shocked by the limited availability of good films made by women.” They set out to get feminist films into first-run cinemas and onto television, but they felt also that women filmmakers should be able to exercise some control over where and how their films were exhibited. This chapter considers the challenges faced by COW in trying to make their films accessible to wider audiences in the UK via theatrical release. It shows that building audiences of especially (although not exclusively) women is central to COW's distribution work. Furthermore, COW's performance and the level of service the distributor offered did not always meet filmmakers' expectations.Less
This chapter examines the role of distributors and a range of issues that come into play in getting films from their makers to their potential audiences by focusing on the work of the UK women's distributor Cinema of Women (COW). COW was founded in 1979 by six women—Mandy Rose, Fern Presant, Audrey Summerhill, Caroline Spry, Melanie Chail, and Maggie Sellers—who had been “shocked by the limited availability of good films made by women.” They set out to get feminist films into first-run cinemas and onto television, but they felt also that women filmmakers should be able to exercise some control over where and how their films were exhibited. This chapter considers the challenges faced by COW in trying to make their films accessible to wider audiences in the UK via theatrical release. It shows that building audiences of especially (although not exclusively) women is central to COW's distribution work. Furthermore, COW's performance and the level of service the distributor offered did not always meet filmmakers' expectations.
Jill Lindsey Harrison
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262015981
- eISBN:
- 9780262298766
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262015981.003.0003
- Subject:
- Political Science, Environmental Politics
Technological and institutional innovations have helped investors and growers to transform Californian agriculture and make it exceptionally profitable. The major concern for growers for having high ...
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Technological and institutional innovations have helped investors and growers to transform Californian agriculture and make it exceptionally profitable. The major concern for growers for having high yield had been pest control, and to control pests they embraced chemical technologies and started using pesticides. Toxic chemical pesticides are common in use for agricultural production in California and cause pesticide drift that affects humans, animals, and the environment adversely. This chapter identifies actors such as chemical manufacturers, investors, distributors, farmers, and others who play different roles in the agricultural industry and shape the pesticide drift by keeping pesticides widely available and promoting the use of pesticides for their profits. It further mentions that these actors have made some significant efforts to avert the problem of pesticide drift, but these efforts in the name of environmental sustainability are essentially circumscribed by the imperative of the industry to maximize profits.Less
Technological and institutional innovations have helped investors and growers to transform Californian agriculture and make it exceptionally profitable. The major concern for growers for having high yield had been pest control, and to control pests they embraced chemical technologies and started using pesticides. Toxic chemical pesticides are common in use for agricultural production in California and cause pesticide drift that affects humans, animals, and the environment adversely. This chapter identifies actors such as chemical manufacturers, investors, distributors, farmers, and others who play different roles in the agricultural industry and shape the pesticide drift by keeping pesticides widely available and promoting the use of pesticides for their profits. It further mentions that these actors have made some significant efforts to avert the problem of pesticide drift, but these efforts in the name of environmental sustainability are essentially circumscribed by the imperative of the industry to maximize profits.
Hilary A. Hallett
- Published in print:
- 2013
- Published Online:
- September 2016
- ISBN:
- 9780520274082
- eISBN:
- 9780520953680
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520274082.003.0007
- Subject:
- History, American History: 20th Century
The final chapterreinterprets the industry’s first so-called canonical sex scandal, the “Fatty” Arbuckle scandal, as an explosive round in ongoing debate about the relationship between motion ...
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The final chapterreinterprets the industry’s first so-called canonical sex scandal, the “Fatty” Arbuckle scandal, as an explosive round in ongoing debate about the relationship between motion pictures and the rise of sexual modernism. It does this by restoring Virginia Rappe—the actress who fell ill during Arbuckle’s party and died days after it—to the center of the scandal’s production, a place she occupied at the time. The dominant narrative of the scandal, which emergedquickly in the sensational press, shoehorned the event into a traditional melodrama of sexual danger, casting Rappe as a degraded, fallen woman and Hollywood as modernity’s scapegoat. This narrative aided those who sought to exert more control over the presentation of bohemian Hollywood and its girls, including censorship activists, moralists, women’s club reformers, and film producers.Less
The final chapterreinterprets the industry’s first so-called canonical sex scandal, the “Fatty” Arbuckle scandal, as an explosive round in ongoing debate about the relationship between motion pictures and the rise of sexual modernism. It does this by restoring Virginia Rappe—the actress who fell ill during Arbuckle’s party and died days after it—to the center of the scandal’s production, a place she occupied at the time. The dominant narrative of the scandal, which emergedquickly in the sensational press, shoehorned the event into a traditional melodrama of sexual danger, casting Rappe as a degraded, fallen woman and Hollywood as modernity’s scapegoat. This narrative aided those who sought to exert more control over the presentation of bohemian Hollywood and its girls, including censorship activists, moralists, women’s club reformers, and film producers.
- Published in print:
- 2012
- Published Online:
- March 2013
- ISBN:
- 9780226502106
- eISBN:
- 9780226502120
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226502120.003.0007
- Subject:
- Political Science, Political Economy
This chapter describes how the cumulative victories by groups of gas distributors resulted in the series of conditions that made possible the defining, safeguarding, and trading of property rights. ...
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This chapter describes how the cumulative victories by groups of gas distributors resulted in the series of conditions that made possible the defining, safeguarding, and trading of property rights. Gas pipeline transport transformed over the course of sixty-five years into an industry that shows true Coasian bargaining in transport entitlements and supports the world's only vigorously competitive and openly transparent gas market with an equally vigorous futures market. The Natural Gas Act of 1938 was an unusual piece of legislation that came about in response to pressure from the states and gas-consuming city coalitions. Phillips Petroleum attempted to argue that only pipeline regulation was the subject of the Natural Gas Act. The end of conflict between shippers and pipeline owners signaled a transformation of the regulator's prime job. In 2000, the Federal Energy Regulatory Commission (FERC) resolved the last outstanding issues, and the competitive pipeline transport market took off.Less
This chapter describes how the cumulative victories by groups of gas distributors resulted in the series of conditions that made possible the defining, safeguarding, and trading of property rights. Gas pipeline transport transformed over the course of sixty-five years into an industry that shows true Coasian bargaining in transport entitlements and supports the world's only vigorously competitive and openly transparent gas market with an equally vigorous futures market. The Natural Gas Act of 1938 was an unusual piece of legislation that came about in response to pressure from the states and gas-consuming city coalitions. Phillips Petroleum attempted to argue that only pipeline regulation was the subject of the Natural Gas Act. The end of conflict between shippers and pipeline owners signaled a transformation of the regulator's prime job. In 2000, the Federal Energy Regulatory Commission (FERC) resolved the last outstanding issues, and the competitive pipeline transport market took off.
Lucas Hilderbrand
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816670826
- eISBN:
- 9781452947181
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816670826.003.0001
- Subject:
- Art, Art History
This chapter examines three models for distributing and marketing video art: (i) the gallery-based installation with art market prices; (ii) the distribution of single-channel works with ...
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This chapter examines three models for distributing and marketing video art: (i) the gallery-based installation with art market prices; (ii) the distribution of single-channel works with institutional pricing for universities, libraries, and museums; and (iii) a grassroots model premised on the free circulation of media, whether initiated by a collective spirit in production or by a logic of sharing among audiences. It argues that galleries and distributors continue to help us understand media practices in the contexts of broader art histories and even in relation to the same artists’ other works. They exist to make the work public and to help it circulate. At the same time, video sharing arises from a spirit of setting the media free, and new Web video sharing sites help works to circulate farther and faster. All three institutional models of distribution remain essential, even as the form remains ever on the move.Less
This chapter examines three models for distributing and marketing video art: (i) the gallery-based installation with art market prices; (ii) the distribution of single-channel works with institutional pricing for universities, libraries, and museums; and (iii) a grassroots model premised on the free circulation of media, whether initiated by a collective spirit in production or by a logic of sharing among audiences. It argues that galleries and distributors continue to help us understand media practices in the contexts of broader art histories and even in relation to the same artists’ other works. They exist to make the work public and to help it circulate. At the same time, video sharing arises from a spirit of setting the media free, and new Web video sharing sites help works to circulate farther and faster. All three institutional models of distribution remain essential, even as the form remains ever on the move.
William A. Birdthistle
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9780199398560
- eISBN:
- 9780199398591
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199398560.003.0003
- Subject:
- Economics and Finance, Financial Economics
This chapter discusses the anatomy of mutual funds. It is presented as counterintuitive—so much so that many investors are unaware there even is a structure. The chapter contrasts funds with other ...
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This chapter discusses the anatomy of mutual funds. It is presented as counterintuitive—so much so that many investors are unaware there even is a structure. The chapter contrasts funds with other offerings from financial firms, such as bank accounts or certificates of deposit. Mutual funds are, structurally and operationally, unlike both the quotidian American businesses and the omnipresent bank accounts with which we are all more familiar. They are the financial equivalent of patients in a vegetative state, kept alive only by a complex array of external machines and doctors. To understand funds, the author describes the cast of economic actors who surround and animate them: the investment adviser, fund distributor, custodian, transfer agent, and administrator.Less
This chapter discusses the anatomy of mutual funds. It is presented as counterintuitive—so much so that many investors are unaware there even is a structure. The chapter contrasts funds with other offerings from financial firms, such as bank accounts or certificates of deposit. Mutual funds are, structurally and operationally, unlike both the quotidian American businesses and the omnipresent bank accounts with which we are all more familiar. They are the financial equivalent of patients in a vegetative state, kept alive only by a complex array of external machines and doctors. To understand funds, the author describes the cast of economic actors who surround and animate them: the investment adviser, fund distributor, custodian, transfer agent, and administrator.
