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The literature on evolution of organizational forms has remained largely silent on where the first organizational instance of a new form comes from, treating it as either a given or an outcome of random variation. We challenge this agnostic assumption by putting the first organizational founding into a specific spatiotemporal context and revealing the role of provisional spaces, defined as small-scale, easily accessible settings where market pioneers temporarily experiment with applications of an innovation before dedicated organizations emerge. We theorize that provisional spaces disseminate necessary information about an innovation and enable potential entrepreneurs to envision a new template for organizing. Therefore, geographic communities with a higher number of provisional spaces are more likely to host the first organization embodying a new form sooner than others. Using archival data on all movie-showing venues in Chicago communities, 1896–1927, we find empirical support for our theorizing. Community variance in volume and types of provisional spaces for movie projectors, such as opera houses and penny arcades, led to community-level differences in the emergence of distinct movie theater forms: nickelodeon, movie house, and movie palace. We advance scholarship on organizational form emergence by uncovering the role of provisional spaces in shaping localized opportunity structures. [ABSTRACT FROM AUTHOR]

This article discusses the use of Chinese indentured labor by the British Phosphate Commissioners (BPC) in mining operations on Ocean Island and Nauru from the 1920s to 1942. The Chinese workers lived in BPC accommodation and had agreements regarding their work, benefits, and wages. In 1942, due to the threat of a Japanese attack, the Chinese miners were evacuated and later employed to mine wolfram in Hatches Creek and Wauchope in the Northern Territory. However, they went on strike shortly after arriving, accusing the government of not fulfilling its promises. The article compares the working and living conditions of Chinese miners in different locations and aims to broaden the historical understanding of their lives. [Extracted from the article]

This article uses three coming-out YouTube videos to narratively map the emergence of "New Queer YouTube," a phrase used in this article to describe the evolving tactics and styles deployed by LGBTQ+ microcelebrity YouTubers over the previous decade. Encapsulated by Ingrid Nilsen's 2015 YouTube video "Something I Want You to Know (Coming Out)," 2010s-era coming-out videos represent early attempts to reconcile authentic queer disclosure with the performative conditions of microcelebrity. In the 2020s era, coming-out videos and queer YouTubers frequently acknowledge and elevate this legacy with an aesthetic that evokes the postmodern sensibilities of New Queer Cinema and "post-Stonewall" queer documentaries. Two videos are of particular interest here: Natalie Wynn's "Shame | ContraPoints," and Abigail Thorn's "Identity: A Trans Coming Out Story | Philosophy Tube ★." While the creators of these texts declare authentic queer identities to their audiences, they pursue different approaches that nonetheless tangle personal confession with performance. These videos and their respective microcelebrity personas wield coming-out and LGBTQ+ embodiment as devices to simultaneously claim agency over a queer identity and, ultimately, enhance perceived authenticity through the revelation of performance and the reflexive rebirth of digital persona. These strategies exemplify an aesthetic of queer, postmodern YouTube microcelebrity necessitated, in part, by the site's increasing stratification and precarity as a meaningfully user-generated platform. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyze the potential contribution of broadcasting live performing arts in movie theaters to the democratization of high culture. To accomplish this, we analyze the profile of attendees to these events to explore whether this new form of cultural consumption can attract individuals who do not normally attend live performances, thereby renewing high-brow audiences. Using data from the Spanish Survey of Cultural Habits and Practices in Spain (2018–2019), we find that individuals who frequently attend movies are more likely to attend live opera broadcasts in movie theaters, even those who do not consume live opera or even do not listen to opera at all. This is a positive insight suggesting that this initiative may be successful to engage new audiences to high culture. [ABSTRACT FROM AUTHOR]

The article published in the American Anthropologist in December 2024 explores the ethical considerations and challenges faced by anthropologists who are also parents. It delves into the impact of parenting on fieldwork, highlighting the need to balance care responsibilities with academic careers. The authors, Jessica Barnes and Kate McGurn Centellas, share their personal experiences as ethnographers and mothers, reflecting on the intersection of their research and carework trajectories. The article calls for a reevaluation of methodological approaches, training methods, and evaluation criteria to create a more inclusive discipline that values diverse perspectives and acknowledges the complexities of conducting fieldwork while caring for children. [Extracted from the article]

The article explores the impact of plastic on children's health and the environment in Tamil Nadu, India, focusing on two cleanliness campaigns: a plastic ban and a contagion-prevention campaign. Plastics are seen as both a threat to the environment and a protective shield against contagious diseases. The discourse surrounding the plastic ban campaign emphasizes care for human and planetary health, with children playing a central role as ambassadors of the message. The article highlights the complexities and tensions that arise from the interplay between individual, community, and planetary health in relation to plastic use and disposal. [Extracted from the article]

This article explores the impact of home video culture and screen translation in the late Soviet Union. The arrival of consumer-grade video in the 1980s led to the emergence of alternative viewing habits and tastes among Soviet audiences. The article examines the factors that contributed to the legitimization of video cultures within the Soviet project, including socialist cultural doctrines, shortage economies, and distinctive screen translation practices. It also highlights the enduring legacy of the VHS era and the importance of translation in shaping media economies and spectatorial pleasures in the post-Soviet context. [Extracted from the article]

The article explores the concept of "slow-clap" behaviors, which are actions that are morally right but may not be seen as praiseworthy. The author argues that these behaviors are often overlooked in discussions of moral worth and proposes further investigation into the topic. The text also discusses the importance of adequate caring and understanding in moral decision-making, as well as the limitations individuals may face in promoting certain behaviors. The author suggests that while some behaviors may go beyond the minimum and deserve praise, not all required actions necessarily deserve recognition. [Extracted from the article]

Copyright of Uru: Revista de Comunicación y Cultura is the property of Universidad Andina Simon Bolivar, Sede Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The perception of the concept of Eros has evolved through shared cinematic experiences, to the point of shaping collective imagery in Cadiz, Spain. This city is known for its creativity and an extraordinary amount of performances during the period of carnival, and is represented annually by anonymous citizens. The research method employed consisted of an exhaustive analysis of bibliographic, press, and archival references on audience behavior from the introduction of the cinematograph to the present day. The authors have designed a table that organizes the emergence of movie theaters in the city and completed the background information, delving into the historical, geographical, and idiosyncratic factors that have contributed to collective creativity in the city. From there, we analyzed the evolution of the concept of Eros through the perspectives of Byung Chul Han and Georges Bataille. As a result, we recovered the value of projection interruptions in the analog environment as an opportunity for collective interaction, confronting them with the demands of technological perfection. We demonstrated the resilience of the analog through new experiences that show the evolution of the need for collective contact. Future studies will focus on other contexts, such as supermarkets and terraces, to contribute to a broader understanding of urban spaces, social cohesion, and perceptions of Eros. [ABSTRACT FROM AUTHOR]

Copyright of Innovar: Revista de Ciencias Administrativas y Sociales is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines two documentary films by women filmmakers dealing with combat stress: Irit Gal's Harmed Forces (1999) and Nurit Kedar's On the Edge (2003). The first Israeli female directors to deal with combat stress reactions, their work is distinguished from that of male directors in its criticism of the establishment and society and a camera perspective that identifies and empathizes with combat stress victims, including a cinematic strategy for representing the trauma of war. The article offers close readings of the films' narratives that reveal their radical criticism of hegemonic attitudes and examines their different ethical concepts, forms of trauma discourse, and modes of identification with combat-stressed soldiers. Reading these films from the historical perspective of women's documentary cinema reveals two different approaches to creating counter cinema. [ABSTRACT FROM AUTHOR]

Ana M. López was a pioneer in Latin American film and cultural studies. Her work focused on the significance of classical Mexican melodrama and Latin American telenovelas, challenging previous dismissals of these forms. López's publications advanced a broader perspective of Latin American cinemas, including the New Latin American Cinemas, and brought cultural studies perspectives into the field of Latin American film studies. She also emphasized the transnational focus of Latin American cinema, highlighting cross-border dynamics and the influence of traveling filmmakers. López was known for her generosity and nurturing nature, creating a community of young scholars and defending their research topics. Her work continues to inspire new avenues of research in the field. [Extracted from the article]

The article discusses the annual Avalon Harbor Underwater Cleanup (AHUC) dive that takes place on Santa Catalina Island in California. The event, which has been running for over four decades, involves hundreds of scuba divers cleaning up debris in Avalon Harbor. The article also provides historical information about the island, including its Native American occupation, Spanish colonization, and development as a tourist destination. The Casino building, a prominent landmark on the island, is highlighted for its role in the diving industry and its historical significance. The article concludes by mentioning the success of this year's cleanup and the funds raised for the Catalina Hyperbaric Chamber and the Casino Point Dive Park improvement project. [Extracted from the article]

This article analyses three popular films from Kerala released post-2000, viz. Masala Republic (2014), Acha Din (2015), and Amar Akbar Anthony (2015) that depict the life of interstate migrant labourers. The attempt is to critically engage with the complex processes of narrativisation and characterisation, such as region, ethnicity, culture, body, etc. in Malayalam cinema to make sense of their effect on regional identity and othering processes. The construction of a regional or sub-national identity is explored from the spatial and social configurations of the 'outside' and the 'other' within the region as imagined by the Malayali public. This article also focuses on the popular imaginings of the assemblage of 'Bengali migrants' in these films and their significance in the larger societal spectrum. We argue that Malayalam films reinforce its region by othering migrants and their markers in contemporary cinema. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Entertainment products such as movies are risky investments but contribute to societal welfare through their cultural and economic value. Therefore, movie production receives financial support from both private investors and public institutions, in the form of subsidies. Noting the ongoing debate about the actual impact of such funding, in research and practice, this study reviews a large sample of 1984 movies (co-) produced in Germany and released to cinemas over a 10-year period. The findings demonstrate the positive impact of public funding on movie success: indirectly by attracting private funding, and directly by increasing local and global box office revenues. However, public funding does not directly improve movie quality, which contradicts one of the aims of public funding. The analyses reveal different correlations and interaction effects with regard to financing and quality signals generated by the cast, directors, and producers of movies. Public funding emerges not only as relevant for the economic success of movies but also as a factor that supports their cultural contribution. [ABSTRACT FROM AUTHOR]

Focusing on one representative case study – the Danish film literacy initiative School Cinema (Med skolen i biografen) – this article investigates how film education can make European arthouse cinema more sustainable in both cultural and industrial terms. The analysis has shown that one successful model builds on a collaboration between the cultural sectors and the market players where the former ones propose the content and reach out to the target audience, while the latter ones provide the infrastructure and technology. School Cinema gathers both stakeholder groups in Denmark. The cultural sector is represented by the Danish Film Institute, municipal education departments, schools and regional centers for education. The market players in this constellation are Danish distributors and exhibitors which provide rights to the films and secure the screening venues. According to the School Cinema's concept, students see films in cinemas and discuss their themes, dramaturgy and visual language afterwards in class within multiple school subjects. Yet, this program does not only have educational and cultural goals. As this article demonstrates, building on the exclusive distribution data and one expert interview, School Cinema also contributes to the European audience-building project in an industrial sense. [ABSTRACT FROM AUTHOR]

This article provides an overview of Quentin Tarantino's career and his film "Pulp Fiction" on its 30th anniversary. It discusses Tarantino's background, his controversial reputation, and his contributions to cinema. The article also explores the narrative structure of "Pulp Fiction" and its impact on the development of puzzle films. It concludes by mentioning a special issue dedicated to analyzing different aspects of the film, including its reception, soundtrack, and themes. [Extracted from the article]

Based on content analysis (in the context of the historical, socio-cultural and political situation, etc.) of texts published during the "stagnant" period of the Soviet Screen magazine (1969--1985), the authors came to the conclusion that the principle of choosing cinematic personalities to paint portraits of Western actors and directors in 1969-1985 remained stable in the Soviet Screen. This magazine readily wrote about "progressive filmmakers" who went unnoticed in negative statements against the USSR and participation in anti-Soviet films. Especially if these filmmakers came to the Moscow International Festival and spoke positively about the Soviet Union. One of the favorite subjects of the Soviet Screen within the framework of foreign themes is Western actors as "victims of Hollywood", evidence of the "tragedy of the artist in the bourgeois world." But if any of the famous Western actors was involved in the creation of anti-Soviet films and/or films "glorifying the American military," the magazine could strike him with "heavy artillery" on its pages. However, there were many less politicized articles about Western actors on the pages of the magazine. As for interviews with Western filmmakers, as in previous years, the Soviet Screen magazine selected interlocutors from among the most "progressive artists." For example, among American filmmakers, the first place was given to Stanley Kramer. The progressive political position was also emphasized in interviews with Sydney Pollack, Norman Jewison, Ellen Burstyn, Jessica Lange and other Western directors and actors. In general, during the period 1969-1985, the ideological positions of the Soviet Screen magazine remained unchanged. [ABSTRACT FROM AUTHOR]

Based on the content analysis (in the context of the historical, socio-cultural and political situation, etc.) of the texts published during the "perestroika" period of the Soviet Screen magazine (1986--1991), the authors came to the conclusion that materials on the subject of Western cinema on this stage can be divided into the following genres: -- ideologized articles emphasizing criticism of bourgeois cinema and its harmful influence on the audience (1986-1987); -- articles on the history of Western cinema; -- biographies and creative portraits of Western actors and directors (as a rule, with positive ratings); -- interviews with Western filmmakers (as a rule, with those who came to Moscow film festivals); -- reviews of Western films (here we can note a violation of the old tradition: if in 1986-1987 the magazine still often negatively evaluated some "politically harmful bourgeois" films, then later Western film production was evaluated without regard to ideological stereotypes, moreover, even received a positive interpretation films that were previously rejected for ideological reasons); -- articles about international film festivals and weeks of foreign cinema in the USSR, reviews of the current repertoire of Western national cinematographies (no longer divided into "progressive" and "bourgeois" cinematography); -- short informational materials about events in Western cinema (from neutral reports to "yellow" gossip). [ABSTRACT FROM AUTHOR]