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1.
Normative cultural economy discourse on New York City embraces the creative industries as engines of job creation but neglects the quality of employment within them. This article sets out to both illuminate the precarious conditions of nonstandard workers in New York's vaunted creative sectors and identify emerging collective responses to precarity in this city. Three areas of labour activity are focused upon: fashion industry frictions, art world agitations, and independent worker initiatives. Under each of these headings, the article profiles two organizations that are variously exposing, resisting, and mitigating precarity among flexible labour forces in the arts, the media, cultural industries, and beyond. The discussion of these organizations is informed by interviews with some of their protagonists, by documents produced by the organizations, and/or by media coverage of them. Challenging the assumption that getting by in informal cultural labour markets obliges individual coping strategies, this article reveals scenes from a metropolitan laboratory of precarious labour politics. These initiatives are inklings of a recomposition of labour politics in which flexible workforces in creative industries are important participants.  相似文献   

2.
This paper investigates the effect of Oscar nominations and awards on movies’ financial success by estimating the impact on weekly returns and on movies’ survival time. Our findings suggest that nominations for Oscars generate substantial extra revenues, while winning an award contributes only little to this extra rent.  相似文献   

3.
Why culture attracts and resists economic analysis   总被引：1，自引：0，他引：1  
The realm of arts and culture can be seen as ephemeral and ill-suited to the ‘intrusion’ of quantitative analysis. Yet, demand amongst end-users for economic research into cultural and creative industries is stronger today than ever it has been in the past. Oddly, culture seems to both attract and resist economic analysis. Drawing on an analysis of recent research findings related to multi-platform strategies in the television industry, this article examines what is distinctive about economics of culture, and it assesses the appeals but also the challenges associated with conducting scholarly research work in this particular area.  相似文献   

4.
ABSTRACT

One of the under-theorised aspects of Catherine Malabou’s What Should We Do With Our Brain? is the overtly political project that underpins her discussion of a renewed conception of subjectivity. Malabou's political project is framed in radical and emancipatory terms, and yet the possibilities and limitations that stem from of a neurobiological account of politics have been left under-explored. Can we really locate in the brain a progressive politics, especially in the context of debates around mental illness, when so many groups and individuals are resistant to understanding themselves as their brains? Or is this affirmation of scientific materialism at risk of obscuring the realities and complexities of the materiality of cultural practice? In order to pursue the political consequences of her work, this paper looks to stage an encounter between Malabou's account of neuroplasticity and Lauren Berlant's notion of cruel optimism. This is done in order to ask: do Malabou’s own critiques of neoliberal flexibility run the risk of embracing a neuro-liberalism, in which an optimism regarding plasticity, individual liberty, and compromise between the humanities and life-sciences obscures the political limitations of neuroscience as a site for political-philosophy?  相似文献   

5.
This paper investigates the effects of national culture on firm risk-taking, using a comprehensive dataset covering 50,000 firms in 400 industries in 51 countries. Risk-taking is found to be higher for domestic firms in countries with low uncertainty aversion, low tolerance for hierarchical relationships, and high individualism. Domestic firms in such countries tend to take substantially more risk in industries which are more informationally opaque (e.g., finance, mining, oil refinery, IT). Risk-taking by foreign firms is best explained by the cultural norms of their country of origin. These results hold even after controlling for legal constraints, insurance safety nets, and economic development.  相似文献   

6.
Film studios have spent the past two decades lobbying extensively to establish new legislation restricting access to copyrighted materials online. While there is growing evidence of the effect film piracy has on studio profits, the evidence on the impact of anti-piracy legislation is limited. If anti-piracy legislation is having the film industry’s desired impact, we would expect film revenues to be consistently higher following the passage of major laws that restrict access to pirated content, or major enforcement actions, such as the shutdown of Web sites that provide illegal content for download. This paper applies an intervention analysis approach to weekly data on movie box-office revenues in the USA to determine whether the passage of new anti-piracy policy has generated significant changes in box-office revenues during the period from 1997 to the present. These effects are evaluated in both the short and long term, which allows an assessment of the duration of effectiveness of government actions. The results show that four of the six included policies are ineffective in the long term and those policies that do impact revenues in the short term often harm film studios, rather than help them.  相似文献   

7.
以黄石市为例,通过构建经济转型评价指标体系,运用主成分—因子分析法,评价该市2001—2017年经济转型效果,结果显示:(1)黄石经济转型效果评价因素由经济—就业状况、接替产业状况以及采矿业发展状况三部分构成。(2)2001—2017年黄石市经济转型可分为两个阶段,第一阶段为2001—2010年,是逐渐探索转型之路的低速上升阶段;第二阶段为2011—2017年,是转型规划后的快速上升阶段;黄石市经济转型过程中产业结构调整效果并不明显,接替产业发展缓慢。(3)采矿业虽为经济转型过程中应该逐渐弱化的产业,但在转型期其转型效果并不明显,过度发展在一定程度上阻碍了黄石市整体经济的发展。基于上述结论,对黄石市经济转型提出三点建议:加大对接替产业的扶植,逐渐削弱对资源型产业的过度依赖;重视下岗工人的培训和再就业;经济转型短期内应采取采矿业与接替产业协调发展的模式。  相似文献   

8.
ABSTRACT

This article investigates how cultural businesses may facilitate contentious political activity in authoritarian contexts. Existing research in Western liberal democracies has shown the widespread political activism of actors in the cultural and creative industries. Whether such activism exists in authoritarian society, how it may differ in character and form, and what implications this will have for our understanding of relations between business, politics, and culture in authoritarian countries remain to be addressed. Drawing on data collected from 55 ‘independent bookshops’ in China, I illustrate how these organisations perform ‘cultural politics,’ a type of political participation in which actors employ mainly symbolic means to express social and political concerns. The organisations’ economic relations and conditions facilitate their efforts to create spaces in which contentious questions can be raised, sensitive topics explored, and alternative ideas expressed, despite the Chinese state’s political regulation of the cultural sphere. The finding of the economic embeddedness of cultural politics sheds new light on our understanding of the political economy of cultural businesses in contemporary China.  相似文献   

9.
Recently, scholars begun to urge an approach to the study of finance that interrogates the accepted wisdom of financial models and practices by examining the forces of power behind their development. Drawing from the field of cultural studies, Hardin and Rottinghaus (in their 2015 article, “Introducing a cultural approach to technology in financial markets”) advocate for a cultural studies of finance, which emphasizes the critical consideration of the co-constructive nature of financial technologies and cultures. This paper builds off that provocation using the concept of ‘rhetorical closure’ (as described by Pinch and Bijker in 2012) to explore how industry media aimed at derivatives developers, traders, and investment bankers worked to define the meanings of new financial technologies. Using critical discourse analysis, this study examines how credit default swaps (CDSs) were presented in the financial industry media in the years 1995–2007, and how this framing contributed to the politics of these artifacts. It finds that the financial industry media produced a discourse about CDSs using multiple overlapping frames that overgeneralized the success of CDSs from narrowly specific evidence and applied constant competitive pressure to adopt new financial technologies. These discourses implicitly encouraged the rapid adoption and broad application of CDSs, thus helping to (re)produce a financial culture in which self-interest and short-term gains were prioritized.  相似文献   

10.
This paper problematises some of the assumptions underlying efforts in Governmentality Studies (GS) to theorise the production of subjectivity. By focusing on the GS literature about the role of the ‘psy-disciplines’ in the contemporary production of subjects, and by engaging in discussion with a heterogeneous series of authors such as Bruno Latour, Isabelle Stengers, Gilles Deleuze and Michel Serres, it is argued that there are methodological, epistemic and ontological assumptions underpinning GS's work that result in: (1) a reduction of the material multiplicity of vectors at work in the production of subjectivity; (2) a reproduction of the subject–object distinction also common in conventional accounts of psychology and psychotherapy; and (3) the conceptualisation of ‘governable subjects’, who are nothing but epiphenomena of their vectors of production. The problematisation of such assumptions allows for the possibility of rethinking the formation of subjectivity, that is, of encountering recalcitrant subjects who may resist specific forms of subjectification, and also ask new questions, thereby potentially resulting in unexpected, novel forms of subjectivity. Finally, the notion of ‘ecology of questions’ is offered as an alternative exploration of the production of subjects.  相似文献   

11.
In this essay I propose a new reading of Michel Foucault's main thesis about biopower and biopolitics. I argue that organisation represents the neglected key to Foucault's new conceptualisation of power as something that is less political and more organisational. This unique contribution was lost even on his closest interlocutors. Foucault's work on power had a strong influence on organisation and management theory but interestingly not for the reasons I am proposing. In fact, although theorists in management and organisation studies have emphasised power in relation to discipline, control and subjectivity they have overlooked the transformative meaning of Foucault's organisation. His work on biopolitics has attracted opposition, too, as evidenced by the controversy sparked by Giorgio Agamben about Foucault's biopolitics. From Agamben's critique, it appears that Foucault's notions of politics and power do not allow a deconstruction of the violence of the concentration camp. However, a critical reading of Primo Levi's biographical narratives reveals the camp as a place where the prisoners’ ability to organise their daily lives secured survival. To make sense of Levi's revelation, I use John Dewey's notion of habits as forms of organisation and reconnect it to Foucault's organisation. A shared understanding of the objective conditions of human activity and experience highlights the similarities between Dewey's pragmatism and Foucault's pragmatic metaphysics. In the end, however, Foucault's metaphysical background has caught up with him, pushing him away from his own most radical proposal that organisation was the new form of power and the new substance of politics.  相似文献   

12.
This paper applies the transaction cost framework to the organisation of product sourcing and development (PS&D) activities within the popular music industry. Two firm types characterise the industry and this particular set of activities; large multinational firms (`majors') and smaller regionally bound companies (`independents'). We find that the Transaction CostEconomies framework of Oliver Williamson (1985, 1999) provides only a partial explanation for the observed hybrid organisational structures established by the two firm types. A more sensitive model can be achieved by including a number of moderating variables drawn from the socially constructed and situationally dependent idiosyncrasies of the assets involved in the PS&D activities under consideration.  相似文献   

13.
Abstract

This essay considers Levinas' face-to-face ethical relation together with Gilles Deleuze and Felix Guattari's concept of ‘becoming animal’ as a response to the radical dehumanisation involved in biopolitics. Framing his analysis in terms of an archaic law banning wrongdoers as wolves, Giorgio Agamben shows that biopolitics strips humans of subjectivity and exposes them to political power. Levinas' answer to radical dehumanisation is an ethical humanism of the other, but his ethical program is barred from politics. Moreover, he writes that in his own experience of dehumanisation, the only ethical being he encountered was Bobby, the camp dog. It seems biopolitics calls for an ethical politics that we might possess as bare life, outside of the autonomous, individualising conditions of the humanist subject. To this aim, I apply Deleuze and Guattari's concept of becoming animal as a devise to transport Levinas' ethics of alterity to the political realm.  相似文献   

14.
This paper provides a posthumanist performative reading of spaces of disposal as sites of economic activity. Its empirical focus is ship breaking, as practices and political techniques. Drawing on the work of Donald Mackenzie, Karen Barad and Jane Bennett, it frames ship disposal as a boundary-making intervention in the world and as part of the demolition assemblage. The paper challenges the oppositional politics that characterise international debate about ship disposal. Through an articulation of the academic register and literary narrative, the paper develops a material politics of ship disposal which draws connections, rather than making distinctions, between labouring bodies in different parts of the world. It reconfigures ship disposal through a material politics that centres the proximate intimacy of human bodies, demolition technologies and vital inorganic materials, highlighting the importance of shared corporeal vulnerabilities, a biopolitics of occupational health and a material politics of globalisation where the long distance associations are temporal, of a ‘now’ and future-past ‘then’.  相似文献   

15.
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16.
This article focuses on recent contemporary art of Gulf Futurism and Arab Futurism with a specific geographical focus on the Near and Middle East. Still only occasionally addressed and analysed in contemporary academic discussions, these art discourses and practices can be understood as particular forms of counterfuturisms and cultural politics of imaginary times; they continue the earlier work of Afrofuturism in using an aesthetic repertoire to complicate normalised notions of time and technology but in an alternative geopolitical context. Some of the analysed works such as Larissa Sansour’s films outline political questions about territories and architectures of control but these are also other contexts that address how experience of time is being infrastructured in material media culture. The article analyses these post-colonial artistic practices in dialogue with contemporary theoretical debate about cultural politics of time including the discourses about cancellation of future (Berardi) as well as the idea of counterfuturisms as a form of audiovisual practice.  相似文献   

17.
Like other cultural industries, the theatrical film industry is subject to the ‘blockbuster effect’, where popular products often dominate their competition by orders of magnitude over relatively short-run time horizons. This paper investigates this particular feature of the industry and the implication for overall market size. Using simple regression analysis, a positive relationship between (product-level) market concentration and market size is established using weekly box office revenue data from the US motion picture industry. This empirical evidence supports a simple theoretical model of heterogeneous consumers who selectively participate in the market.  相似文献   

18.
Abstract

This essay reads two differing conceptions of subjectivity in Frantz Fanon's work as corresponding to a shift in subjective orientation in certain moments of crisis, from what I term a unified individual – the subject of psychoanalysis – to a dispersed subject, the frenzied participant in collective activity. I believe that such a potential duality within the subject is best adopted when analysing Fanon's oeuvre, as well as when examining a subject's behaviour as participant in forms of unstructured collective protest such as rioting. Whereas the unified subject of psychoanalysis best expresses the consciously self-reflective individual in society, the dispersed subject expresses a subjectivity operating in excess of individualism. This dispersed subject acts collectively, as an object moving in tandem with other objects, without individual reflection. I argue that this shift comprises the initial spark of insurrection suggested in Fanon's work, the moment in which he sees the people pitched ‘in a single direction, from which there is no turning back’; and what Jean-Paul Sartre calls the explosive moment of ‘conflagration’. The two subject positions between which the subject shifts exist as two potential sides of every subject and comprise the ‘Manichean’ world in which Fanon's subject is entrenched.  相似文献   

19.
For this study, data from the annual reports of the STIM (the Swedish Performing Right Society) (By Swedes it is read as a word: ‘stim’ and not as four separate initials S.T.I.M.) were collected and analysed. If the general hypothesis that a digital technology shift has resulted in illegal downloading holds true, there should be a decrease in total revenues for composers from record sales. This is what the STIM data show. There has, however, been a simultaneous growth in income from other sources, which compensates for the loss from record royalties. This study also includes a unique data set from the STIM showing revenues for individual music IPR owners. The general finding is that a very small group of composers receives a very large share of the copyright revenues. Music as a ‘winner-takes-all’ arena is apparent.  相似文献   

20.
This study considers the Australian DVD industry using a data set of retail sales for over 44,800 titles 1997–2007. A sub-sample of 760 titles which also received an initial theatrical release reveals that the DVD revenue distribution has thicker tails than the theatrical revenue distribution implying the top-ranked DVDs earning a greater share of revenues than their theatrical contemporaries. A comparison of revenues finds not only a high degree of correlation between the two markets, but a relationship that is nonlinear and increasing at higher theatrical revenue levels. This finding is consistent with a word-of-mouth momentum effect and more institutional flexibility in the DVD market. The high levels of correlation are present across all genres/ratings and are observed to be stronger for large release titles. Finally, a seemingly unrelated regression structure is proposed to jointly consider the two markets, which is shown to be empirically valid.  相似文献   

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