Critic power or star power? The influence of hallmarks of quality of motion pictures: an experimental approach

Most research into the film industry focuses on aggregate level market analysis of a range of devices used by the industry to ensure the success of its films. In contrast, in this paper, we experimentally test how individual cinema-goers are influenced by two variables that have aroused considerable interest in the literature: critical reviews and the role of box office stars. As regards the former, the results of our experiment indicate that negative reviews by film critics are cues that affect cinema-goers’ pre-film assessment of a film yet fail to exert any effect on post-film assessment. As regards the latter, a cast of box office stars is not seen to be an indication of quality per se for our experimental subjects. Nor do box office stars help to mitigate the potential effects of negative reviews.     

Perfect reproductions of works of art: Substitutes or heresy?

The paper attempts an empirical investigation into a number of subjective determinants used in the evaluation of a work of art. Individuals' decisions to buy works of art seem based predominantly on aesthetic benefits. This is true for original pieces of art as well as for reproductions, i.e. there seems to be some substitutability between both kinds of objects. Major differences in the evaluation of originals and reproductions arise with respect to the secondary characteristics of art objects, not specifically with regard to the work of art itself. With respect to the willingness to pay (wtp) for a reproduction, a major impact seems to be whether or not the original work exists, i.e. a rationing effect seems to arise. The wtp for a reproduction also seems to depend on whether or not an individual earns his/her income in the arts sector.     

The –ography of markets (or,the responsibilities of market studies)

How should we write about markets? What responsibilities does this writing bring upon us? This paper offers an immanent critique of ‘market studies’ scholarship, and through this a call to reflection and reformed action. Turning the intellectual framework of market studies upon itself, we come to see its texts as performative and agential. We discuss these qualities and the associated responsibilities via a reading of literature from the domain of ethnography. An auto-ethnographic sketch of market writing allows us to consider the problematic nature of expertise for market studies scholars and the agency and power of our texts. We find a dual moment of performativity from which our texts emerge more powerful than their authors. On this basis we offer a vision of critical interventions embedded in our texts, underpinned by the intellectual axioms of the market studies programme.     

Quality,service level,or empire: which is the objective of the nonprofit arts firm?

In this article, we examine the objectives of nonprofit arts firms. We approach this problem from both theoretical and empirical angles, building a structural model of arts nonprofit utility that distinguishes between the maximization of quality, the organization’s level of service, and its budget. We then construct an empirical method for testing which objective is evident in firm-level data. As an example application, we test the objectives of the managers of American public radio stations in the 1990s, finding that about half of stations have discernible objectives. The data show service is not an objective for about 30% of the stations; quality can be ruled out for 49%; and budget is rejected for 69%. In addition, large stations are harder to classify by objective than small ones are.

The Pumpkin or the Tiger? Michael Polanyi,Frederick Soddy,and Anticipating Emerging Technologies

Imagine putting together a jigsaw puzzle that works like the board game in the movie “Jumanji”: When you finish, whatever the puzzle portrays becomes real. The children playing “Jumanji” learn to prepare for the reality that emerges from the next throw of the dice. But how would this work for the puzzle of scientific research? How do you prepare for unlocking the secrets of the atom, or assembling from the bottom-up nanotechnologies with unforeseen properties – especially when completion of such puzzles lies decades after the first scattered pieces are tentatively assembled? In the inaugural issue of this journal, Michael Polanyi argued that because the progress of science is unpredictable, society must only move forward with solving the puzzle until the picture completes itself. Decades earlier, Frederick Soddy argued that once the potential for danger reveals itself, one must reorient the whole of one’s work to avoid it. While both scientists stake out extreme positions, Soddy’s approach – together with the action taken by the like-minded Leo Szilard – provides a foundation for the anticipatory governance of emerging technologies. This paper narrates the intertwining stories of Polanyi, Soddy and Szilard, revealing how anticipation influenced governance in the case of atomic weapons and how Polanyi’s claim in “The Republic of Science” of an unpredictable and hence ungovernable science is faulty on multiple levels.     

Netflix: global hegemon or facilitator of frictionless digital trade?

Trade in cultural products has traditionally been constrained by a combination of law and technology. In Europe, digital sellers based in a given EU country are not always able to distribute across borders. In January 2016, US-based Netflix announced an expansion to 243 countries, accomplishing cross-border distribution through business strategy. Changes in law or technology that facilitate cross-national cultural trade have traditionally drawn the concern of observers worried about the cultural heritage—and products—of small markets. The expansion raises questions about what Netflix is doing. Is it a cultural hegemon, distributing US fare into 243 countries? Or it is a facilitator of free trade, making the products of even small countries more available outside their home markets (relative to traditional distribution)? And how does the curated model—which limits the number of movies the platform wants to distribute—affect Netflix’s function? To shed light on these questions, we develop a new measure of the global availability of a repertoire, the value-weighted geographic reach. Using this measure we find, first, that Netflix makes many of the works from a wide variety of countries available in many other countries. Second, we find that theatrical distribution strongly advantages US-origin fare. Third, the pattern of origin repertoire available through Netflix also favors the USA, although less overwhelmingly. Moreover, many countries are relatively advantaged by their Netflix availability patterns. Finally, we discuss some issues related to the Netflix platform, including horizontal competition with other platforms, vertical struggles with content providers (and its backward integration into production), and we speculate on possible challenges for regulators.     

Laser cleaning of stone artefacts: a substitute or alternative method?

Laser cleaning of ancient marble and stone monuments is nowadays a well-accepted procedure in conservation. Operators and specialists are presently divided between those giving maximum confidence to this method of cleaning and others who, in contrast, are strongly critical and emphasise possible drawbacks and damages caused by laser. As any other method of cleaning, laser also offers advantages but at the same time is limited by drawbacks. Most conveniently, it should be integrated with the other methods. On the basis of the above considerations, the authors are proposing a combined procedure using laser cleaning as a first step – in this way removing the relevant part of black gypsum encrustation – followed by chemical methods as a final step. The latter, conveniently, could be accomplished by means of anion exchange resins, better than ammonium carbonate. An experimental check-up was made of four different methods applied on three different lithotypes on the façade of the Florentine Cathedral. Laser, micro-sandblasting, ammonium carbonate and sodium EDTA were the cleaning methods compared, whilst Carrara marble, green Serpentine (Verde di Prato) and a red limestone were the three lithotypes. Results are commented by showing differences in the advantages and drawbacks among the different methods on the various lithotypes.     

Dictating to The Dictator: Augustus Trowbridge,The Rockefeller Foundation,And The Support of Physics in Spain, 1923–1927

During the mid 1920s, the Spanish Government, prompted by the Rockefeller Foundation, began for the first time to support fundamental research in physics. The negotiations leading to this outcome are instructive, in reflecting key differences between the Foundation’s vision and the practices of scientists accustomed to a ‘culture of scarcity’. This paper shows how the Foundation and the Dictator of Spain, Miguel Primo de Rivera, tested the limits of ‘civil discourse’, and reached a resolution.