The lizard genus Anolis contains more species than any other genus of reptile, bird, or mammal. Caribbean members of this group have been intensively studied and have become a model system for the study of ecology, evolution, and biogeography, but knowledge of the anoles of Central and South America has lagged behind. In this landmark volume, veteran herpetologists James R. McCranie and Gunther Köhler take a step toward rectifying this shortcoming by providing a detailed account of the rich anole fauna of Honduras.
Generously illustrated with 157 photos and drawings, The Anoles of Honduras includes information on the evolutionary relationships, natural history, distribution, and conservation of all 39 Honduran anole species. The work is the result of decades of study both in the field and in museums and is the first synthetic discussion of the complete anole fauna of any Central or South American country. Each species is described in great detail with locality maps. Bilingual (English and Spanish), extensively illustrated identification keys are also included.
Heavily illustrated with color photographs, Arkansas Mammals is the comprehensive guide to the state’s mammal population. Endangered or threatened species of mammals and missing species known to have been present in recent times are discussed, along with non-native species that have become an important part of the mammal fauna in Arkansas and adjacent states.
“Powerful as well as highly engaging—a brilliant book.”
—Amartya Sen
A Times Higher Education Book of the Week
It may sound crazy to pay people whether or not they’re working or even looking for work. But the idea of providing an unconditional basic income to everyone, rich or poor, active or inactive, has long been advocated by such major thinkers as Thomas Paine, John Stuart Mill, and John Kenneth Galbraith. Now, with the traditional welfare state creaking under pressure, it has become one of the most widely debated social policy proposals in the world. Basic Income presents the most acute and fullest defense of this radical idea, and makes the case that it is our most realistic hope for addressing economic insecurity and social exclusion.
“They have set forth, clearly and comprehensively, what is probably the best case to be made today for this form of economic and social policy.”
—Benjamin M. Friedman, New York Review of Books
“A rigorous analysis of the many arguments for and against a universal basic income, offering a road map for future researchers.”
—Wall Street Journal
“What Van Parijs and Vanderborght bring to this topic is a deep understanding, an enduring passion and a disarming optimism.”
—Steven Pearlstein, Washington Post
Butterfly watching has begun to gain the popularity that bird watching has enjoyed for half a century. Much as birds served as a flagship of the conservation movement in this country, butterflies are coming to be seen as the rallying point for the protection of invertebrate species--now regarded as increasingly important for the well-being of all members of the ecosystem.
Butterflies of New Jersey discusses the behavior, status, distribution, taxonomy, ecology, and conservation of butterflies in New Jersey. It is an innovative companion and complement to any butterfly identification guide of the Northeast. It pays particular attention to the place of butterflies in the ecosystem of New Jersey and neighboring regions and their relationships to other butterflies around the world. Its detailed species accounts of 140-plus kinds of butterflies found in the state and neighboring regions (out of 700 North American species) alert butterfly watchers to changes in populations over time. Where other butterfly guides typically include a section on collecting butterflies, this one includes a detailed chapter on protecting them by creating butterfly gardens and preventing habitat destruction.
Butterflies of New Jersey is indispensable for everyone interested in the butterflies and natural history of the Garden State and its neighbor.
Winner of the United Association for Labor Education Book Award 2021, this is essential reading for everyone who wants to understand the role of Amazon in our economy and society. With Amazon, supply-chain, and unionization in the news, it is both timely and incredibly informative.
Amazon is the most powerful corporation on the planet and its CEO, Jeff Bezos, has become one of the richest individuals in history, and one of the few people to profit from a global pandemic. Its dominance has reshaped the global economy itself: we live in the age of “Amazon Capitalism.”
“One-click” instant consumerism and its immense variety of products has made Amazon a worldwide household name, with over 60% of US households subscribing to Amazon Prime. In turn, these subscribers are surveilled by the corporation. Amazon is also one of the world's largest logistics companies, resulting in weakened unions and lowered labor standards.
The company has also become the largest provider of cloud-computing services and home surveillance systems, not to mention the ubiquitous Alexa.
With cutting-edge analyses, this book looks at the many dark facets of the corporation, including automation, surveillance, tech work, workers' struggles, algorithmic challenges, the disruption of local democracy and much more. The Cost of Free Shipping shows how Amazon represents a fundamental shift in global capitalism that we should name, interrogate, and be primed to resist.
Viewing turn-of-the-century African American history through the lens of cinema, Envisioning Freedom examines the forgotten history of early black film exhibition during the era of mass migration and Jim Crow. By embracing the new medium of moving pictures at the turn of the twentieth century, black Americans forged a collective—if fraught—culture of freedom.
In Cara Caddoo’s perspective-changing study, African Americans emerge as pioneers of cinema from the 1890s to the 1920s. Across the South and Midwest, moving pictures presented in churches, lodges, and schools raised money and created shared social experiences for black urban communities. As migrants moved northward, bound for Chicago and New York, cinema moved with them. Along these routes, ministers and reformers, preaching messages of racial uplift, used moving pictures as an enticement to attract followers.
But as it gained popularity, black cinema also became controversial. Facing a losing competition with movie houses, once-supportive ministers denounced the evils of the “colored theater.” Onscreen images sparked arguments over black identity and the meaning of freedom. In 1910, when boxing champion Jack Johnson became the world’s first black movie star, representation in film vaulted to the center of black concerns about racial progress. Black leaders demanded self-representation and an end to cinematic mischaracterizations which, they charged, violated the civil rights of African Americans. In 1915, these ideas both led to the creation of an industry that produced “race films” by and for black audiences and sparked the first mass black protest movement of the twentieth century.
John W. Cones, whose real goal is to stimulate a long-term film industry reform movement, shows how the financial control of the film industry in the hands of the major studios and distributors actually translates into creative control of the industry.
Cones discusses the pros and cons of the debate relating to the industry’s so-called net profit problem and the way in which the distribution deal plays an integral part in that problem. He then breaks down five major film finance/distribution scenarios, explaining various distribution deals and suggesting ways of negotiating distribution.
Critically examining the specific terms of the distribution deal itself, Cones covers gross receipts exclusions, distributor fees, and distribution expenses. He also investigates the various forms of interest, issues of production costs, matters of creative control, and general contractual provisions.
For handy reference, Cones includes an extensive checklist for negotiating any feature film distribution deal. The list deals with distribution fees, distribution expenses, interest, production costs, creative control issues, general contractual provisions, distributor commitments, and the limits of negotiating. His nine appendixes present a "Motion Picture Industry Overview," "Profit Participation Audit Firms," "ADI (Top 50) Market Rankings," an "AFMA Member List, 1992–1993," a "Production-Financing/Distribution Agreement," a "Negative Pickup Distribution Agreement," a "Distribution Rights Acquisition Agreement," a "Distribution Agreement (Rent-a-Distributor Deal)," and a "Foreign Distribution Agreement."
Cones wrote this book for independent producers, executive and associate producers and their representatives, directors, actors, screenwriters, members of talent guilds, distributors, and entertainment, antitrust, and securities attorneys. Securities issuers and dealers, investment bankers, and money finders, investors, and financiers of every sort also will be interested. In addition, Cones suggests and hopes that the book will interest "Congress, their research staff, government regulators at the Internal Revenue Service, the Securities and Exchange Commission, the Federal Trade Commission, and law enforcement officials such as the Los Angeles District Attorney and the U.S. Justice Department."
The redistribution of income has been a key element in Peruvian governmental policy. Both the Belaunde and Velasco regimes professed a deep concern with economic injustice, and they have been regarded as models of peaceful progress toward social justice. Despite its good intentions, Richard Webb shows, the government has had little impact on the rigid imbalance of wealth in Peru. The rich have continued to get richer faster than the poor have got less poor. Inequality has grown, and those most in need of improvement have benefited least. The tax structure has actually become more regressive. with taxes raised most on middle-income groups and least on the very rich.
Overall, the Peruvian government's economic policy has been mildly progressive, but not progressive enough to have an appreciable effect on the widespread poverty. What is needed, Webb argues, are movements of capital from the modern sector of the economy to the traditional sector to create new jobs for the poor. "Finally, substantial redistribution seems to require changes in attitude. The elimination of poverty must precede a concern for equity per se, and the needs of the very poor must acquire the status of rights rather than claims to compassion."
Growth and Distribution is the first text designed to support a comprehensive advanced undergraduate or graduate course on the theory, measurement, and history of economic growth. The book, which presents Classical and Keynesian in parallel with Neoclassical approaches to growth theory, introduces students to advanced tools of intertemporal economic analysis through carefully developed treatments of land- and resource-limited growth, and covers money and growth, the impact of government debt and social security systems on growth, and theories of endogenous growth and endogenous technical change. The models emphasize rigorous reasoning from basic economic principles and insights without excessive formal complication, and respond to students' interest in the history and policy dilemmas of real-world economies. Surveys of data and discussion of empirical controversies are closely integrated with the development of theoretical tools. The book includes access to a comprehensive data set extending the Penn World Tables in a form suitable for exploration in hands-on student projects.
In addition to carefully worked examples showing how to use the analytical techniques presented, the book contains many problems suitable for inclusion in problem sets and examinations. Detailed answers to these problems are also provided.
A major revision of an established textbook on the theory, measurement, and history of economic growth, with new material on climate change, corporate capitalism, and innovation.
Authors Duncan Foley, Thomas Michl, and Daniele Tavani present Classical and Keynesian approaches to growth theory, in parallel with Neoclassical ones, and introduce students to advanced tools of intertemporal economic analysis through carefully developed treatments of land- and resource-limited growth. They cover corporate finance, the impact of government debt and social security systems, theories of endogenous technical change, and the implications of climate change. Without excessive formal complication, the models emphasize rigorous reasoning from basic economic principles and insights, and respond to students’ interest in the history and policy dilemmas of real-world economies.
In addition to carefully worked out examples showing how to use the analytical techniques presented, Growth and Distribution presents many problems suitable for inclusion in problem sets and examinations. Detailed answers to these problems are available. This second edition includes fresh data throughout and new chapters on climate change, corporate capitalism, models of wealth inequality, and technical change.
What determines the rate of growth, the distribution of income, and the structure of relative prices under capitalism? What, in short, makes capitalist economies tick? This watershed treatise analyzes the answers to these questions provided by three major theoretical traditions: neoclassical, neo-Marxian, and neo-Keynesian. Until now, the mutual criticism exchanged by partisans of the different traditions has focused disproportionately on the logical shortcomings of rival theories, or on such questions as whether or not input–output relationships can be described by a continuous-substitution production function.
In this book, these are at best secondary issues. The real distinguishing features of the theories, for Stephen Marglin, are their characterization of labor markets and capital accumulation. For clarity, Marglin first sets out the essential features of each theory in the context of a common production model with a single good and a fixed-coefficient technology. He then formalizes the different theories as alternative ways of closing the model. In subsequent chapters he examines the effects of relaxing key simplifying assumptions, in particular the characterization of technology and the homogeneity of output and capital. And although his primary emphasis is theoretical, he does not ignore the problem of empirically testing the theories. Finally, he synthesizes the insights of the neo-Marxian and neo-Keynesian models into a single model that transcends the shortcomings of each taken separately.
Marglin anticipates that partisans of the different traditions will agree on one point: each will allow that the book reveals the shortcomings of the other theories but will insist that it fails utterly to reflect the power and majesty of one’s own particular brand of truth. Growth, Distribution, and Prices will be controversial, but it will not be ignored.
By March 2020, the spread of COVID-19 had reached pandemic proportions, forcing widespread shutdowns across industries, including Hollywood. Studios, networks and production companies, and the thousands of workers who make film and television possible, were forced to adjust their time-honored business and labor practices. In this book, Kate Fortmueller asks what happened when the coronavirus closed Hollywood.
Hollywood Shutdown examines how the COVID-19 pandemic affected film and television production, influenced trends in distribution, reshaped theatrical exhibition, and altered labor practices. From January movie theater closures in China to the bumpy September release of Mulan on the Disney+ streaming platform, Fortmueller probes various choices made by studios, networks, unions and guilds, distributors, and exhibitors during the evolving crisis. In seeking to explain what happened in the first nine months of 2020, this book also considers how the pandemic will transform Hollywood practices in the twenty-first century.
While Hollywood executives spend millions of dollars making movies, even more money is poured into selling those films to the public. In the second edition of his comprehensive guidebook, Marketing to Moviegoers, veteran film and TV journalist Robert Marich plumbs the depths of the strategies and tactics used by studios to market their films to consumers. Packed with real life examples and useful data, this new edition blends practical, up-to-date information with theory to clearly explain all aspects of promoting motion pictures.
Marketing to Moviegoers: A Handbook of Strategies and Tactics takes readers carefully through all of the key components of film marketing. From creative strategy, market research, and advertising to publicity, product placement, and distribution to theaters, Marich's book covers everything film professionals need to know to mount a successful marketing campaign. Each chapter contains a wealth of useful information—including the historical background of the business, sample market research documents and advertising budgets, comments from successful industry insiders, and over thirty-five tables—and offers intriguing insight into the strategies of modern promotion.
Most other film marketing books focus mainly on marketing by independent distributors, but Marich specifically outlines the marketing methods of the six major Hollywood studios, which are notoriously secretive about these methods, while also detailing the marketing plans of the independent and foreign film sectors. In addition, he examines in depth the effectiveness of both new and old media, especially the ways in which the advent of the Internet has both helped and hindered the movie marketing process.
While many books have been written on the business-to-business aspect of film promotion, Marich's volume is one of the few that focuses on the methods used to sell motion pictures to those who truly make or break a film's success—the public.
This essential reference contains detailed examples, more than twenty illustrations, and a comprehensive glossary of marketing terms. A highly navigable handbook that breaks down a complicated process into manageable strategies in an easy-to-read style, Marketing to Moviegoers is a must for all film professionals and filmmaking students.
While Hollywood executives spend millions of dollars making movies, even more money is poured into selling those films to the public. In the third edition of his comprehensive guidebook, Marketing to Moviegoers: A Handbook of Strategies and Tactics, veteran film and TV journalist Robert Marich plumbs the depths of the methods used by studios to market their films to consumers. Updates to the third edition include a chapter on marketing movies using digital media; an insightful discussion of the use of music in film trailers; new and expanded materials on marketing targeted toward affinity groups and awards; fresh analysis of booking contracts between theaters and distributors; a brief history of indie film marketing; and explorations of the overlooked potential of the drive-in theater and the revival of third-party-financed movie campaigns.
While many books have been written on the business-to-business aspect of film promotion, Marich’s volume is one of the few that focuses on the techniques used to sell motion pictures to those in a position to truly make or break a film—the public. A highly navigable handbook that breaks down a complicated process into manageable strategies in an easy-to-read style, Marketing to Moviegoers is a must for all professionals and students in today’s rapidly evolving film industry.
A history of film distribution in the United States from the 1910s to the 1930s, concentrating on booking, circuiting, and packaging marketing practices.
Told not as a “golden age” narrative of films, stars, or individual studios but as an economic history of the industry’s film distribution practices, Playing the Percentages is the story of how Hollywood’s vertically integrated studio system came to be. Studying the history of distribution during the growth of Hollywood, Derek Long makes a case for the domination of the studio system as the result of struggles over distribution practices.
Through a combination of archival research, critical surveys of the film industry trade press, and economic analysis, Long uncovers a complex and ever-shifting system of wrangling between distributors and exhibitors. Challenging the overemphasis within scholarship on “block booking” as a monolithic distribution mode, and attending to distribution practices beyond simple circulation, Long highlights the crucial changes in film distribution brought about by live theater, the rise of features, and the transition to sound. Playing the Percentages is a comprehensive history of film distribution in the United States during the silent era that illustrates the importance of power struggles between distributors and exhibitors over booking, pricing, and playing time.
From the Republican Party's "Southern Strategy" in the U.S. to the rise of Le Pen's National Front in France, conservative politicians in the last thirty years have capitalized on voters' resentment of ethnic minorities to win votes and undermine government aid to the poor. In this book, the authors construct a theoretical model to calculate the effect of voters' attitudes about race and immigration on political parties' stances on income distribution.
Drawing on empirical data from the U.S., Britain, Denmark, and France, they use their model to show how parties choose their platforms and compete for votes. They find that the Right is able to push fiscal policies that hurt working and middle class citizens by attracting voters who may be liberal on economic issues but who hold conservative views on race or immigration. The authors estimate that if all voters held non-racist views, liberal and conservative parties alike would have proposed levels of redistribution 10 to 20 percent higher than they did. Combining historical analysis and empirical rigor with major theoretical advances, the book yields fascinating insights into how politicians exploit social issues to advance their economic agenda.
From Hollywood blockbusters to art films, distributors play an important role in getting films in front of audiences and thus in shaping the nature of film culture. Of central concern to Reaching Audiences are the distribution practices developed to counter Hollywood’s dominance of the marketplace, designed to ensure audiences have access to a more diverse moving image culture. Through a series of case studies, the book tracks the inventive distribution and exhibition initiatives developed over the last forty years by small companies on the periphery of the United Kingdom’s film industry—practices now being replicated by a new generation of digital distributors. Although largely invisible to outsiders, the importance of distribution networks is widely recognized in the industry, and this book is a key contribution to our understanding of the role they play.
An original vision for using technology to transform supply chains into value chains in order to revitalize American communities
When the COVID-19 pandemic led to a global economic “shutdown” in March 2020, our supply chains began to fail, and out-of-stocks and delivery delays became the new norm. Contrary to public perception, the pandemic strain did not break the current system of supply chains; it merely exposed weaknesses and fault lines that were decades in the making, and which were already acutely felt in deindustrialized cities and depopulated rural towns throughout the United States.
Reinventing the Supply Chain explores the historical role of supply chains in the global economy, outlines where the system went wrong and what needs to be done to fix it, and demonstrates how a retooled supply chain can lead to the revitalization of American communities. Jack Buffington proposes a transformation of the global supply chain system into a community-based value chain, led by the communities themselves and driven by digital platforms for raising capital and blockchain technology.
Buffington proposes new solutions to problems that have been decades in the making. With clear analysis and profound insight, Buffington provides a clear roadmap to a more durable and efficient system.
Integrating film and cultural theory with close analysis of promotional materials, entertainment news, trade publications, and economic reports, Acland presents an array of evidence for the new understanding of movies and moviegoing that has developed within popular culture and the entertainment industry. In particular, he dissects a key development: the rise of the megaplex, characterized by large auditoriums, plentiful screens, and consumer activities other than film viewing. He traces its genesis from the re-entry of studios into the movie exhibition business in 1986 through 1998, when reports of the economic destabilization of exhibition began to surface, just as the rise of so-called e-cinema signaled another wave of change. Documenting the current tendency toward an accelerated cinema culture, one that appears to arrive simultaneously for everyone, everywhere, Screen Traffic unearths and critiques the corporate and cultural forces contributing to the “felt internationalism” of our global era.
Much of the innovative programming that powers the Internet, creates operating systems, and produces software is the result of “open source” code, that is, code that is freely distributed—as opposed to being kept secret—by those who write it. Leaving source code open has generated some of the most sophisticated developments in computer technology, including, most notably, Linux and Apache, which pose a significant challenge to Microsoft in the marketplace. As Steven Weber discusses, open source’s success in a highly competitive industry has subverted many assumptions about how businesses are run, and how intellectual products are created and protected.
Traditionally, intellectual property law has allowed companies to control knowledge and has guarded the rights of the innovator, at the expense of industry-wide cooperation. In turn, engineers of new software code are richly rewarded; but, as Weber shows, in spite of the conventional wisdom that innovation is driven by the promise of individual and corporate wealth, ensuring the free distribution of code among computer programmers can empower a more effective process for building intellectual products. In the case of Open Source, independent programmers—sometimes hundreds or thousands of them—make unpaid contributions to software that develops organically, through trial and error.
Weber argues that the success of open source is not a freakish exception to economic principles. The open source community is guided by standards, rules, decisionmaking procedures, and sanctioning mechanisms. Weber explains the political and economic dynamics of this mysterious but important market development.
How female directors, producers, and writers navigate the challenges and barriers facing female-driven projects at each stage of filmmaking in contemporary Hollywood.
Conversations about gender equity in the workplace accelerated in the 2010s, with debates inside Hollywood specifically pointing to broader systemic problems of employment disparities and exploitative labor practices. Compounded by the devastating #MeToo revelations, these problems led to a wide-scale call for change. The Value Gap traces female-driven filmmaking across development, financing, production, film festivals, marketing, and distribution, examining the realities facing women working in the industry during this transformative moment. Drawing from five years of extensive interviews with female producers, writers, and directors at different stages of their careers, Courtney Brannon Donoghue examines how Hollywood business cultures “value” female-driven projects as risky or not bankable. Industry claims that “movies targeting female audiences don’t make money” or “women can’t direct big-budget blockbusters” have long circulated to rationalize systemic gender inequities and have served to normalize studios prioritizing the white male–driven status quo. Through a critical media industry studies lens, The Value Gap challenges this pervasive logic with firsthand accounts of women actively navigating the male-dominated and conglomerate-owned industrial landscape.
'Work hard, have fun, make history' proclaims the slogan on the walls of Amazon's warehouses. This cheerful message hides a reality of digital surveillance, aggressive anti-union tactics and disciplinary layoffs. Reminiscent of the tumult of early industrial capitalism, the hundreds of thousands of workers who help Amazon fulfil consumers' desire are part of an experiment in changing the way we all work.
In this book, Alessandro Delfanti takes readers inside Amazon's warehouses to show how technological advancements and managerial techniques subdue the workers rather than empower them, as seen in the sensors that track workers' every movement around the floor and algorithmic systems that re-route orders to circumvent worker sabotage. He looks at new technologies including robotic arms trained by humans and augmented reality goggles, showing that their aim is to standardize, measure and discipline human work rather than replace it.
Despite its innovation, Amazon will always need living labor's flexibility and low cost. And as the warehouse is increasingly automated, worker discontent increases. Striking under the banner 'we are not robots', employees have shown that they are acutely aware of such contradictions. The only question remains: how long will it be until Amazon's empire collapses?
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