Middlebrow cinema by women directors in the 1990s
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This article reviews cinema of the 1990s to argue that, besides the transformation of the industry through the shift from national to transnational funding structures, one of its most remarkable achievements was the rise of women directors, an achievement that is today all the sharper in focus as this rise was not sustained over the first two decades of the twenty-first century. The article reconsiders the dismantling of the Ley Miró in the period to suggest that the "Mirovian" films that this legislation funded in fact continued to be influential. It therefore proposes, against the popular thesis of 1990s novelty in Spanish cinema, that there was continuity between the 1980s and 1990s in the area of middlebrow films. Positing a flexible definition of this category of accessible, didactic cinema, which brings cultural prestige to viewers, it argues that middlebrow film was a particular strength of films by women in the period, as subsequent developments in Spanish film and TV confirm. Testing this hypothesis against three female-authored films, it argues for Azucena Rodríguez's Entre rojas (1995) as newly relevant. A film that may be recovered both by feminism and by scholarship on the middlebrow, it proves that women's cinema is an important and thus far little-acknowledged category within middlebrow film.Keywords:
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Divestment represents an important corporate strategic tool; however, research on divestment is eclipsed by acquisition research, and divestment is often incorrectly considered the opposite of an acquisition. Our review provides a more complete picture of the stages of divestment with a focus on summarizing literature on divestment antecedents, processes, and outcomes. The result shows a need to integrate theoretical perspectives and look at divestment more holistically. Additionally, divestment capabilities may be limited to specific divestments modes (e.g., sell-off). Additional implications for management research and practice are identified.
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Perrin's essay examines the late work of Ernest Hemingway and T. S. Eliot, both accused of having descended into “middlebrow” territory during the post—World War II years when the term was most in vogue. Perrin argues that Eliot's and Hemingway's middlebrow work develops an aesthetic program that offers solutions to the contradictions and incoherencies of postwar modernism. He aims to show thereby that so-called middlebrow literature might be thought of not merely in terms of the set of structures for marketing and distribution through which it was consumed, but as having a self-conscious, counter-modernist aesthetic philosophy of its own—one that anticipates the “critical aesthetics” called for by today's scholars.
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Divestment represents an important corporate strategic tool; however, research on divestment is eclipsed by research on mergers and acquisitions, and divestment is often incorrectly considered an inverse of an acquisition. Further, most divestment research focuses on performance at the expense of antecedents and processes that set the foundation for later performance. Our review provides a more complete picture of the stages of divestment with a focus on summarizing literature on divestment antecedents and processes. The result shows a need to integrate theoretical perspectives and look at divestment more holistically at the same time that divestment capabilities may be limited to specific modes. Additional implications for management research and practice are identified.
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Abstract Divestitures occur when an organization disposes of some or all of its assets. This article provides a general overview of divestiture strategy. It begins by defining divestitures and then identifies several of their more popular motives. The mechanisms for implementing divestiture are reviewed. Finally, the implications of divestiture are considered. Overall, the article provides insight into the divestiture process, including why they occur, how they are executed and what they mean for organizational stakeholders.
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List of plates and table Acknowledgements Notes on Contributors Introduction 1. Re-framing British Cinema Studies 2. The Distribution and Reception of British Films Abroad 3. Cinema, Popular Culture and the Middlebrow 4. Authorship and Agency 5. Genres, Movements and Cycles 6. Contemporary Cinema 1: Britain's Other Communities 7. Contemporary Cinema 2: Whose Heritage?
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Abstract Literary life lessons. The first ‘Scharten novel’ as a model of new middlebrow literature Presenting the case of one of the first bestselling novels by C. and M. Scharten-Antink, this article analyzes how at the beginning of the twentieth century the middlebrow novel was introduced in the Netherlands, which gave rise to a rapidly growing tradition of literary midcult. This new kind of novel, it is argued, is not merely a new genre, yet is a product of new cultural practices in which authors and publishers cooperated. In order to produce the middlebrow novel for a vast and new reading public, they combined existing, longstanding models with new ones. The concept of ‘model’ is used here to analyze the new middlebrow practice from three interrelated perspectives. First, I conceive of ‘model’ as the repertoire, the sets of rules available at a given time, on which authors and publishers could base their choices and actions. Second, I argue that, in literary criticism, the new middlebrow novel soon rose to the status of a model itself. Third, I demonstrate that the major goal of the middlebrow novel was, by way of ‘fictional modelization’, to provide the reader with life-lessons, models to live with.
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This essay explores how analyzing popular Holocaust films as a representation of Middlebrow cultural production changes conventional assessments of each. Unlike those writers who have suffered the opprobrium of too much accessibility, of being relegated to Middlebrow marginalization from canonical cultural status, Holocaust writers struggle to find the language and forms through which to bear witness to their experiences, in short, to achieve accessibility. In turn, just as popular Holocaust films defy the promises of escapist fantasy, so they demonstrate how Middlebrow culture can be seen as questioning and revising traditional forms of realism and modernist experiment.
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Acknowledgements Preface 1. Recognizing the Literary Middlebrow 2. Book Clubs, Women, Oprah and the Middlebrow 3. Harry Potter and the Middlebrow Pedagogies of Teachers and Reviewers 4. The Man Booker Prize: Money, Glory and Media Spectacle 5. The Middlebrow Pleasures of Literary Festivals Conclusion: The Future Of Reading Bibliography Index
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