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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]

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]

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 examines the effects of the 1916 poliomyelitis (polio) epidemic on the film industry and on popular conceptions of the definition and social function of moving pictures. When the major epidemic broke out in New York City, state and local health authorities across the Eastern United States closed motion picture theaters to children. These bans not only had significant financial ramifications on the motion picture business, but they also prompted debates among health authorities, social reformers, the film industry, and the public about the definition and social role of cinema. Relying on print sources from 1916, as well as one no-longer-extant film made about the epidemic, Fighting Infantile Paralysis (Universal, 1916), I argue that the film industry sought to avoid regulation during the epidemic by not only ensuring the safety of theaters, but also promoting the idea that cinema was a critical social utility during a time of crisis. [ABSTRACT FROM AUTHOR]

Cet article explore les dynamiques contradictoires à l'œuvre dans les biopics français contemporains qui apparaissent d'une part comme les symptômes d'une culture cinématographique globalisée, ce dont témoigne l'appropriation récente du label 'biopic' dans le répertoire générique national, et d'autre part comme un écrin pour des histoires de vie qui restent ancrées dans une histoire et une culture nationales. Plusieurs facteurs expliquent ce positionnement paradoxal et conduisent à l'hypothèse d'une ère postnationale pour le genre : l'hybridation culturelle et cinématographique des représentations ; l'effacement de l'origine nationale des biopics dans le discours critique en raison de leur abondance dans les cinémas occidentaux ; le caractère bicéphale du biopic français, avec des films aux sujets biographiés locaux et aux ambitions locales et des films aux ambitions internationales consacrés à des héroïnes et des héros nationaux mais d'envergure internationale ; la mise en scène d'identités plus complexes et la diversification des mémoires ; l'utilisation de formes de multilinguisme ; l'exportabilité du genre, à la fois recherchée par les producteurs et en partie effective. This article explores the contradictory dynamics at work in contemporary French biopics that appear on the one hand as symptoms of a globalised film culture, reflected in the recent appropriation of the 'biopic' label in the national genre lexicon, and on the other as a showcase for life stories that remain rooted in a national history and culture. Several factors explain this paradoxical positioning and lead us to hypothesise a postnational era for the genre: the cultural and cinematographic hybridisation of representations; the erasure of the national origin of biopics in the critical discourse owing to their abundance in Western cinemas; the two-headed nature of the French biopic, which includes films with local subjects and local ambitions as well as those with international ambitions devoted to figures who are national but with an international status; the mise en scène of more complex identities and the diversification of memories; the use of different types of multilingualism; and the exportability of the genre, both sought after by producers and in some cases successful. [ABSTRACT FROM AUTHOR]

This article aims to achieve an experiential study of cinematic representations of females in Chinese films through quantitative narrative analysis. Applied to a census of 360 Chinese films across various genres produced across 18 years (2001-2018) systematically selected on Mtime, we ask to what extent female characters in Chinese films are empowered? How is their power exercised? And what socio-cultural implications can be detected from the cinematic representations of women in the contemporary Chinese gender discourse? We aim to fill in the gap in Chinese cinema studies in which most scholarships focused on pre-2000 works, adopted qualitative textual and narrative analysis to interpret the representations of women in a particular genre or in typical cases, leaving the quantitative approach, particularly focusing on the post-2000 films, all but absent. We develop a systematic set of typologies, including 4 major power-level categories (power-over, power-to, powerwith, and no-power) and 12 deuterogenic ones, which can be applied for future research on Chinese film and media studies. While women's career success has been articulated with empowerment, independence, subjectivity, and ambition in the neoliberal rhetoric, our research reflects a more intricate relationship between cultural representations of women and power in contemporary Chinese films. [ABSTRACT FROM AUTHOR]

Noah Tsika's book, "Cinematic Independence: Constructing the Big Screen in Nigeria," provides a detailed history of theatrical film in Nigeria, focusing on the relationship between Hollywood and Nigeria. Tsika argues that Nigeria should be at the center of film analysis, rather than being relegated to the margins. The book explores the power dynamics between Hollywood and Nigeria, highlighting the exploitation and power asymmetry that exists. It also examines the emergence of multiplex cinemas in Nigeria and their impact on the Nigerian film industry. While the book critiques the influence of Hollywood and corporate interests, it also acknowledges the opportunities and challenges faced by Nigerian filmmakers in navigating these systems. Overall, the book offers a comprehensive understanding of Nigeria's cinema history and the complexities of the present-day Nigerian film industry. [Extracted from the article]

This paper analyzes why child film star series produced by major French production companies (Pathé, Gaumont, Eclectic, and Éclair) in the early 1900s (Bébé, Bout‐de‐Zan, Willy, and the Maria Fromet series) were received with such interest by global audiences. This period, prior to World War I, was a brief era when French cinema held significant hegemony worldwide, before Hollywood's dominance began. There are ideas suggesting that child film stars emerged with American cinema. Contrary to this, however, French producers competed fiercely in the 10 years following 1906, producing series featuring child film stars. Substantial budgets were allocated for the marketing of these series, ultimately gaining a considerable fan base not only in Europe but also in America. When examining these film stars from the early 20th century within their historical context, they emerge as the first international child stars with international fame and financial success, unlike child musicians, vaudeville artists, and theater actors from the 18th and 19th centuries. Inspired by the field analysis of French sociologist Pierre Bourdieu, this article aims to establish a connection between the struggles within the field and the symbolic needs of the audience as reflected in the content of child star films. The films were viewed at the Eye Film Museum archive. [ABSTRACT FROM AUTHOR]

"Hollywood's Embassies: How Movie Theaters Projected American Power Around the Globe" by Ross Melnick is a comprehensive study that reframes our understanding of Hollywood's influence as a purveyor of U.S. soft power. The book focuses on the global network of cinemas owned and operated by major U.S. studios, highlighting their role as embassies of American culture. The author explores the cinemas' architectural splendor, abundance of consumable goods, and their ability to market and shape the film experience according to Hollywood's vision. The book covers the cinemas' presence in various regions, including Europe, Australasia, Latin America, the Middle East, Africa, and Asia, and examines the cultural, commercial, and political struggles that arose from their dominance. The author also discusses the technological advancements that contributed to Hollywood's global dominance, such as air-conditioning, sound systems, widescreen techniques, and the popularity of drive-ins. While the book acknowledges the cultural superiority projected by Hollywood, it also highlights the resistance and indignation it elicited from those who opposed Americanization. Overall, "Hollywood's Embassies" provides a milestone in film history, offering a global perspective on Hollywood's impact and the individuals who played key roles in shaping its history. [Extracted from the article]

The Atco Literary Society and the Delhi Punjabi Saudagran Foundation recently organized a book launching ceremony for 'A City, Cinema and A Community' by Brig. Retd.A. R. Siddiqi. Former Senator Javed Jabbar praised the author's work, which reflects on the city of Delhi, its history, and the magic of cinema. The book discusses the decline of cinema in India and the fact that the majority of the population can no longer afford to go to the movies, which used to be an affordable form of entertainment. The event was attended by various speakers and members of the community. [Extracted from the article]

"Transpacific Convergences: Race, Migration, and Japanese American Film Culture before World War II" by Denise Khor explores the formation and development of Japanese American cine-culture in the first half of the 20th century. The book highlights how the Japanese in the United States actively shaped an "alternative system" of cinematic engagement that challenged classical Hollywood. It examines the politics of silent film reception and production, the establishment of permanent movie houses, and the transition from silent films to talkies. The book offers valuable insights into Japanese American film culture and its efforts to build everyday life through social, cultural, and institutional engagement. [Extracted from the article]

This paper aims to propose a method to measure the operational efficiency of the movie theater businesses. The method is based on a bootstrap data envelopment approach to test the statistical significance of the performance difference between companies in the movie theater industry. The proposed method is utilized to investigate the operational efficiency of the three major U.S. movie theater chains. This article utilizes data from each company's individual financial filings to estimate their bias-corrected efficiency scores. An aggregate report of the efficiency scores shows that the movie theater industry is experiencing a significant decline in both scale and technical efficiencies. The efficiency assessment of the three movie theater chains reports statistically significant differences. Based on the constant returns to scale assumption, the efficiency scores are different among the three movie theater chains. Closely, two significant differences are identified when considering the variable returns to scale assumption. The kernel density of the efficiency scores is estimated as well. Results suggest that the movie theater chains are in imperative need of developing an innovative strategic plan to tackle poor attendance and weak managerial practices. Other contributions and managerial issues are also discussed. [ABSTRACT FROM AUTHOR]

Han Sang Kim's book, "Cine-Mobility: Twentieth-Century Transformations in Korea's Film and Transportation," explores the relationship between film, transportation, and Korean society. The book examines how films and media were used to scrutinize Korean modernity and political changes. It delves into the impact of trains and railways during the Japanese colonial era, the role of automobiles in Park Chung Hee's regime, and the decline of cine-mobility with the rise of television in the 1970s and 1980s. The book offers insights into the visual representations and infrastructure projects that shaped historical narratives in Korea. [Extracted from the article]

The article focuses on a childhood trip to the MGM Grand Hotel in Las Vegas, where the author, excited about encountering a real lion in the hotel, reflects on the contrast between the structured life at home and the allure of the city's vibrant lights and unpredictability. Topics include the author's fascination with the prospect of seeing a wild animal in a hotel, the regimented nature of family life, and the contrast between the routine at home and the unpredictable experiences in Las Vegas.

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]

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]

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]

This article recounts the author's personal experience of a fire that destroyed their church sanctuary. The author describes the devastation caused by the fire, including the loss of stained-glass windows, historical artifacts, and the pipe organ. The author reflects on the significance of the sanctuary as a place of worship and community, and the grief experienced by the congregation. The article also highlights the importance of recognizing the interconnectedness between environmental and social injustices, and the role of religious education in understanding and addressing these issues. [Extracted from the article]