Academic literature on the topic 'Trophy industry'
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Journal articles on the topic "Trophy industry"
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Muposhi, Victor K., Edson Gandiwa, Paul Bartels, and Stanley M. Makuza. "Trophy Hunting, Conservation, and Rural Development in Zimbabwe: Issues, Options, and Implications." International Journal of Biodiversity 2016 (December 28, 2016): 1–16. http://dx.doi.org/10.1155/2016/8763980.
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Trophy hunting has potential to support conservation financing and contribute towards rural development. We conducted a systematic review of the Zimbabwean trophy hunting perspective spanning from pre-1890 to 2015, by examining the following: (1) evolution of legal instruments, administration, and governance of trophy hunting, (2) significance of trophy hunting in conservation financing and rural development, and (3) key challenges, emerging issues in trophy hunting industry, and future interventions. Our review shows that (i) there has been a constant evolution in the policies related to trophy hunting and conservation in Zimbabwe as driven by local and international needs; (ii) trophy hunting providing incentives for wildlife conservation (e.g., law enforcement and habitat protection) and rural communities’ development. Emerging issues that may affect trophy hunting include illegal hunting, inadequate monitoring systems, and hunting bans. We conclude that trophy hunting is still relevant in wildlife conservation and rural communities’ development especially in developing economies where conservation financing is inadequate due to fiscal constraints. We recommend the promotion of net conservation benefits for positive conservation efforts and use of wildlife conservation credits for the opportunity costs associated with reducing trophy hunting off-take levels and promoting nonconsumptive wildlife use options.
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Saayman, Melville, Petrus van der Merwe, and Andrea Saayman. "The economic impact of trophy hunting in the south African wildlife industry." Global Ecology and Conservation 16 (October 2018): e00510. http://dx.doi.org/10.1016/j.gecco.2018.e00510.
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Lindsey, P. A., P. A. Roulet, and S. S. Romañach. "Economic and conservation significance of the trophy hunting industry in sub-Saharan Africa." Biological Conservation 134, no. 4 (February 2007): 455–69. http://dx.doi.org/10.1016/j.biocon.2006.09.005.
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Simon, Alexander. "The competitive consumption and fetishism of wildlife trophies." Journal of Consumer Culture 19, no. 2 (February 1, 2017): 151–68. http://dx.doi.org/10.1177/1469540517690571.
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This article argues that trophy hunting is not an ahistorical phenomenon. Hunting for sport became popular among US elites in the late 1800s. Since this time, in addition to animal trophies being displayed as evidence of one’s economic and cultural capital, these commodities have served as symbolic evidence of their owner’s courage, skill, and fortitude. Currently, the hunting industry (i.e. sporting goods retailers, weapons manufacturers, and advertising supported media) seeks to perpetuate and expand these perceptions. Displaying animal trophies is unlike many other forms of competitive consumption, such as displaying expensive jewelry, in that the hunting industry has attempted to create the often false perception that these commodities required their owners to conquer dangerous and cunning opponents. Trophy hunting is unlike many other sports, in that economic resources, as opposed to skill, are often the primary factor in determining one’s success. Therefore, the use values of animal trophies are fetishized.
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Walls, Judith Louise, Nardia Haigh, and Anandh Gopal. "The pride and joy - and guilt - of trophy hunting: Emotional narratives in a contested industry." Academy of Management Proceedings 2019, no. 1 (August 1, 2019): 12594. http://dx.doi.org/10.5465/ambpp.2019.12594abstract.
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Blattner, Charlotte. "Can Extraterritorial Jurisdiction Help Overcome Regulatory Gaps of Animal Law? Insights from Trophy Hunting." AJIL Unbound 111 (2017): 419–24. http://dx.doi.org/10.1017/aju.2017.107.
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Cross-border trade, industry outsourcing, and increased animal migration are becoming pressing issues for numerous states and fundamentally challenge our conceptions of animal law as territorial. Instead of proposing that nations try to solve these problems by coming to agreement on low and mostly ineffective standards, this essay opens an unexplored and promising avenue for animal law: extraterritorial protection. Using the example of trophy hunting, the essay reveals the many established jurisdictional options that can help animal law to overcome regulatory gaps, and showcases how animal issues can thereby gain visibility on the international plane.
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Descubes, Irena, Tom McNamara, and Cyrlene Claasen. "E-Marketing communications of trophy hunting providers in Namibia: evidence of ethics and fairness in an apparently unethical and unfair industry?" Current Issues in Tourism 21, no. 12 (March 9, 2017): 1349–54. http://dx.doi.org/10.1080/13683500.2017.1299696.
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Косинова, Марина, and Marina Kosinova. "Soviet spreding of the cinema and film distribution during the second half of the 1940-ies. “Trophy movies” as the salvation of the film industry in the period of “malokartinye”." Servis Plus 9, no. 3 (August 28, 2015): 59–69. http://dx.doi.org/10.12737/12541.
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The article discusses the recovery process of the destroyed film industry during one of the most difficult periods — the post-war years. During the years of the great Patriotic war The Soviet urban chain lost more than 500 cinemas, located in major cities and industrial centers. Rural cinema network lost almost half of the cinemas (about 7000). The construction of new urban cinemas was carried out very poorly in the early postwar years; for 5 years only 77 theaters had been built. The film distribution, as spreading of the cinema, developed very slowly in the postwar years. In addition to purely economic problems, in these years our film faced difficulties of a different nature. Films shown on the Soviet cinemas were forcibly shifted in the direction of ideological and political propaganda that led to a narrowing of the genre and thematic range of the Soviet cinema. The results of the work of the film industry itself were also affected with the consequences of policy "malokartinye» the authorship of which is attributed to Stalin. The essence of it was a controversial idea: to spend on movies less money, but earn more. As a result the movie industry was in a very difficult position. In 1947 it was decided to release in USSR a lot of foreign films, announced «trophy». These films caused a lot of criticism on the part of Agitprop, and in fact, saved the Soviet film distribution in the late 1940s — early 1950s. Fascination with foreign «innovations» was inevitable: the decline of the Soviet film industry didn´t allow satisfying the screen with new Soviet films, and nobody reduced plan profits from film distribution to the Ministry of cinematography. A great help in further raising the income of film distribution was the expansion of old Soviet films. In addition, cinema directors took a rather ingenious attempt of the extension of the films shown on cinemas at the expense of shooting on film theatrical productions.
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Abidin, Crystal. "Somewhere between here and there." Journal of Digital Social Research 2, no. 1 (February 17, 2020): 56–76. http://dx.doi.org/10.33621/jdsr.v2i1.20.
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Despite our preparation for fieldwork, a majority of what ethnographers actually do in the field is based on ‘gut-feeling’, ‘sensing’, and ‘whim’. This paper is a piece of reflexive ethnography detailing a series of minor but important methodological decisions pertaining to researcher visibility throughout fieldwork in a digital community of social media Influencers. It details one anthropologist’s private negotiations during the foray into the Influencer industry by situating the self along various spectrums of conspicuousness. These confessional anecdotes of ‘behind the scenes’ labour can be taken as suggestions on how to negotiate one’s positionalities during ethnographic encounters between and betwixt physical and digital fieldsites. I detail these through six experiences from the field – as the esteemed guest, the exotic inbetweener, the willing apprentice, the trophy acquaintance, the concealed consultant, and the passing confidante – in which I negotiate being ‘seen’, being on ‘show’, and ‘seeing’ from somewhere between here and there.
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Kozakiewicz, Paweł, Agnieszka Jankowska, Mariusz Mamiński, Katarzyna Marciszewska, Wojciech Ciurzycki, and Mirela Tulik. "The Wood of Scots Pine (Pinus sylvestris L.) from Post-Agricultural Lands Has Suitable Properties for the Timber Industry." Forests 11, no. 10 (September 24, 2020): 1033. http://dx.doi.org/10.3390/f11101033.
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Scots pine (Pinus sylvestris L.) is a widespread species throughout Europe and at the same time is dominant in Polish forests and of key importance in the wood industry. Pine stands are subjected to numerous environmental stresses, and one of them is the different physico-chemical and biological properties of post-agricultural soils compared to forest soils, which may affect the properties of the resulting wood and its industrial suitability. The research material taken at the height of 1.3 m from tree trunks (breast height diameter, dbh) in the form of sections and discs was collected in an 80-year-old pine stand from four plots, representing former agricultural and ancient forest land, and two types of habitats: fresh coniferous forest and fresh mixed coniferous forest. The forest habitat trophy had a decisive impact on the dendrometric characteristics and properties of pine wood (density, modulus of elasticity, bending strength, and compressive strength along the tracheids). The history of soil use (post-agricultural or forestry) did not affect the analyzed pine wood properties. Regardless of the forest habitat type and soil type history, pine wood at the dbh height showed a variability of features typical of century-old cultivated stands. Individual pine trunks were characterized by significant individual variability.
Dissertations / Theses on the topic "Trophy industry"
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García-Tarrasón, Manuel. "Trophic ecology, habitat use and ecophysiology of Audouin’s Gull (Larus audouinii) in the Ebro Delta." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/286360.
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The results presented in this thesis have shown the strong dependence of Audouin’s gull from the Ebro Delta on fisheries. Foraging movements of breeding birds showed a great association with fishing activities (specially trawling), determining the most of its at-sea distribution on work days. An increase in the use of rice field habitats was also detected in absence of fishing activities (during weekends) due to the opportunistic feeding on the American crayfish. However, a key aspect presented in this thesis was the significant sex-differences in their foraging behaviour in relation to fisheries. Female Audouin’s gull tended to perform longer at-sea foraging trips on weekends compared to males, probably due to the need of feeding on high quality resources after laying instead of the easily available but lower quality American crayfish. This great dependence on fishing activities was also reflected in the resource allocation into the clutch. An isotopic δ15N enrichment in the albumen of eggs synthesized during the weekends was observed, which is attributed to an increase in the consumption of rice field resources as well as to the mobilization of female reserves. However, rice field diets were associated to lower antioxidant capacity in the eggs. Also, rice field diets were related to smaller egg size. Finally, the limiting nature of calcium (in constraining egg synthesis) and antioxidant molecules (decreasing their concentration especially in the latter eggs of the clutch) were also revealed for females.Los resultados presentados en esta tesis han mostrado la gran dependencia de las gaviotas de Audouin del Delta del Ebro sobre las pesquerías. Los movimientos de búsqueda de alimento de las aves durante la reproducción mostraron una gran asociación con las actividades pesqueras (especialmente el arrastre durante el día, aunque también es notable la influencia de la pesca de cerco durante noche), determinando la mayor parte de su distribución en el mar los días laborables. Un incremento en el uso de arrozales fue detectado en ausencia de actividades pesqueras (durante los fines de semana). Sin embargo, un aspecto clave presentado en esta tesis fue las diferencias significativas entre sexos para el comportamiento de alimentación en relación a las actividades pesqueras. Las hembras de gaviota de Audouin tendieron a realizar viajes de alimentación más largos que los machos durante los fines de semana. Esta gran dependencia sobre las actividades pesqueras fue también reflejada en la asignación de recursos sobre la puesta. Un enriquecimiento del δ15N fue detectado en el albumen de los huevos sintetizados durante los fines de semana, lo cual puede ser atribuido a un incremento en el uso de recursos de arrozal así como a la movilización de reservas de la hembra. Sin embargo, un mayor uso de dietas de arrozal se asoció con una menor capacidad antioxidante de los huevos. También, dietas de arrozal estaban relacionadas con tamaños del huevo más pequeños. Finalmente, se puso de manifiesto la naturaleza limitante del calcio (restringiendo la síntesis del huevo) y de las moléculas antioxidantes del huevo (decreciendo su concentración especialmente en los últimos huevos de la puesta).
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Duarte, Liliana da Costa. "Assessment of potentially toxic elements in macroalgae grown in an integrated multi trophic aquaculture system." Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/22219.
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Mestrado em Biotecnologia - Biotecnologia Industrial e AmbientalO consumo de macroalgas pelos seres humanos tem vindo a aumentar nos últimos anos, o que está relacionado, para além do valor nutricional que lhes é reconhecido, com os seus compostos biofuncionais benéficos para a saúde. Assim, há a necessidade de aumentar sua produção de forma sustentável, onde os sistemas de Aquacultura Multitrópica Integrado (IMTA) surgem como uma alternativa promissora à aquacultura convencional, envolvendo mais de um nível trófico. No âmbito do controlo de qualidade deste novo tipo de alimento, surge um desafio: as macroalgas são organismos que tendem a bioacumular elementos potencialmente tóxicos (PTEs). O objetivo deste estudo foi monitorar a concentração de Cd, Pb, Hg e Al na macroalga Ulva rigida cultivada na empresa ALGAplus num sistema IMTA implementado pela empresa na Ria de Aveiro e inferir de um possível impacto dos factores de produção na concentração destes elementos nas algas. Avaliaram-ase três diferentes situações que poderiam influenciar a acumulação de PTEs nas algas: densidade de cultivo, taxa de renovação da água e época do ano (sazonalidade). Foi ainda feita uma comparação entre espécies cultivadas na empresa e pertencentes a outras classes: Fucus vesiculosus e Gracilaria sp. O teor de Cd, Pb e Al na biomassa de macroalgas foi determinado por atomização com plasma associada a deteção com espectroscopia de massa (ICP-MS), após digestão com ácido e microondas. O teor de Hg foi determinado por absorção atómica após combustão da amostra em atmosfera de oxigénio. As concentrações de Pb, Cd, Hg e Al para a Ulva rigida foram 0.3-3.1, <0.05, 0.01-0.03, e 121-3178 μg/g (peso seco – DW), respetivamente. A variabilidade sazonal não foi significativa (ρ > 0.05), e as condições de cultivo apenas influenciaram estatisticamente o teor de Pb (ρ < 0.05). Todos os valores obtidos para os PTEs quantificados estão abaixo do valor limite indicado na legislação que regula a qualidade das algas para consumo humano, o que evidencia que neste sistema IMTA não ocorrem problemas de contaminação com PTEs.
Macroalgae consumption by humans has been increasing in the last years, which is related with their biofunctional compounds with health benefits. Therefore, there is the need to increase their production in a sustainable way where Integrated Multi Trophic Aquaculture (IMTA) emerges as a promising alternative to conventional aquaculture that involves more than one trophic level. Quality assurance of this new aliment is crucial and that is why this study is so important: macroalgae are known to be high bioaccumulators of potentially toxic elements. The objective of this study is to monitor the concentration of Cd, Al, Pb, and Hg in Ulva rigida during the year, assessing possible correlations with the cultive conditions and seasonality. There were evaluated three situations that could influence PTEs accumulation in macroalgae: cultivation density, water renewal rate and season. A comparison was made with other species also cultivated in the company and belonging to other classes: Fucus vesiculosus and Gracilaria sp. Cd, Hg, Pb and Al content in macroalgal biomass was determined through plasma atomization and mass spectrometry detection (ICP-MS), after acid and microwave digestion. Hg content was determined through atomic absortion after oxygen-rich combustion of the sample. Concentrations of Pb, Cd, Hg e Al in Ulva rigida ranged as it follows: 0.3-3.1, <0.05, 0.01-0.03, e 121-3178 μg/g dry weight (DW), respectively. Seasonal variability was not significant (p >0.05), and cultivation conditions were significant only for Pb (p< 0.05). All values obtained are below the limit of legislation which proves that in the IMTA system there are no relevant problems related with potential toxic elements accumulation in macroalgae
Books on the topic "Trophy industry"
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Löwenstein, Wilhelm. Waldnutzung und ökonomische Entwicklung in den Tropen: Theoretische Analysen und empirische Befunde. Münster: Landwirtschaftsverlag, 2004.
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Geist, Helmut. Agrare Tragfähigkeit im westlichen Senegal: Zur Problematik von Nahrungsspielraum und Bevölkerungsentwicklung in den semiariden Tropen Westafrikas. Hamburg: Institut für Afrika-Kunde, 1989.
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Gieneke, Arnolli, Brommer Bea, Etnografisch Museum (Antwerp Belgium), and Gemeentemuseum Helmond, eds. Bontjes voor de tropen: De export van imitatieweefsels naar de tropen. Zwolle: Waanders, 1991.
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Cohan, Steven. Self-Reflexive Hollywood. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190865788.003.0002.
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This chapter surveys the various self-reflexive tropes with which the backstudio picture authenticates its view of filmmaking and Hollywood by referring to its own existence as a backstudio. Films mentioned briefly or discussed for a page or more range from throughout the history of the genre. The chapter covers many types of examples, such as quotation of the industry’s own discourse, press books and trailers, films within films or inserted clips, cameos, inclusion of real Hollywood people interacting with fictional characters, and DVD supplements. The chapter concludes with two case studies of sustained self-reflexivity: Singin’ in the Rain and Tropic Thunder.
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Burnim, Mellonnee. Tropes of Continuity and Disjuncture in the Globalization of Gospel Music. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.16.
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This chapter tracks the global circulation of gospel music, a movement enabled in part by the transnational record industry, noting in particular the ways some audiences in the African Diaspora receive and participate in the music in continuity with African American religious practice in the United States. A key interest is the way gospel music reflects religiosity and cultural experience and the transformations that can disrupt the link between these elements in global performances. The chapter traces performances and historical moments that show an encounter with the global in the careers of pioneering gospel performers, including Mahalia Jackson and Rosetta Tharpe. It then describes and analyzes the author’s experience as “performer and culture bearer” of gospel music in two transnational sites: collaborative performances in Malawi and Cuba. The author concludes that the comprehensive integrity of gospel music is presented most coherently when the music is mediated through the lens of both cultural and religious identity.
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Collins, Luke. 100% Pure Adrenaline. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0004.
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This chapter analyzes the quintessential action movie, Point Break (1991), arguing that we experience the film as generic surface. Despite critical efforts to construct the film as a creative play with masculinity or with the action genre, the film remains culturally and politically ambivalent. As is often noted, Point Break repeats the “vessel” of the action genre without rupture, spillage, or slippage. In this sense, Point Break expresses an awareness of its cultural/commercial form by filling out the homosocial trope latent in the action genre's intense male relationships and fetishization of the male body. However, at no point does it seek to exceed, parody, ironize, or reflect upon its genre. The fullness that this produces is a flatness: a surface. This surface is not a negative construction but provides a way to address the network of relations between film, audience, and industry.
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Avila, Jacqueline. Cinesonidos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.001.0001.
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Cinesonidos: Film Music and National Identity During Mexico’s Época de Oro is the first book-length study concerning the function of music in the prominent genres structured by the Mexican film industry. Integrating primary source material with film music studies, sound studies, and Mexican film and cultural history, this project closely examines examples from five significant film genres that developed during the 1930s through 1950s. These genres include the prostitute melodrama, the fictional indigenista film (films on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the revolutionary melodrama, and the comedia ranchera (ranch comedy). The musics in these films helped create and accentuate the tropes and archetypes considered central to Mexican cultural nationalism. Distinct in narrative and structure, each genre exploits specific, at times contradictory, aspects of Mexicanidad—the cultural identity of the Mexican people—and, as such, employs different musics to concretize those constructions. Throughout this turbulent period, these tropes and archetypes mirrored changing perceptions of Mexicanidad manufactured by the state and popular and transnational culture. Several social and political agencies were heavily invested in creating a unified national identity to merge the previously fragmented populace owing to the Mexican Revolution (1910–ca.1920). The commercial medium of film became an important tool in acquainting a diverse urban audience with the nuances of national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity.
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Salter, Anastasia, and Mel Stanfill. A Portrait of the Auteur as Fanboy. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830463.001.0001.
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The past decade or so of media promotion has seen a recurring trope of Fanboy to the Rescue—have no fear, it says, this revered franchise is being taken over by a writer, director, or producer who is a “fanboy.” In this trope—which, following Suzanne Scott, the book discusses in terms of the “fanboy auteur”—the fan credentials of writers, directors, and producers are presented as a guarantee of quality media-making. This is a strategy of marketing and branding; it is a claim, from the auteur himself or industry PR machines, that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur. A Portrait of the Auteur as Fanboy examines the contemporary ascendance of the fan auteur through a series of case studies. We consider both thoroughly mainstream fan auteur figures like Zack Snyder and Joss Whedon and more offbeat ones like Kevin Smith. We examine those who explicitly identify as fans of the source material they engage, like Steven Moffat, E L James, and Patty Jenkins, and those who don’t but engage in fannish ways nonetheless, like Taika Waititi and J. K. Rowling.
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Marston, Kendra. Postfeminist Whiteness. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430296.001.0001.
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This book is the first extended study into the politics of whiteness inherent within postfeminist popular cinema. It analyses a selection of Hollywood films dating from the turn of the millennium, arguing that the character of the ‘melancholic white woman’ operates as a trope through which to explore the excesses of late capitalism and a crisis of faith in the American dream. Melancholia can function as a form of social capital for these characters yet betrays its proximity to a gendered history of emotion and psychopathology. This figure is alternately idealised or scapegoated depending on how well she navigates the perils of postfeminist ideology. Furthermore, the book considers how performances of melancholia and mental distress can confer benefits for Hollywood actresses and female auteurs on the labour market, which in turn has contributed to the maintenance of white hegemony within the mainstream US film industry. Case studies in the book include Black Swan (Darren Aronofksy 2010), Gone Girl (David Fincher 2014) and Alice in Wonderland (Tim Burton 2010).
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Howell, Charlotte E. Divine Programming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054373.001.0001.
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Divine Programming chronicles how the Hollywood television industry negotiated Christianity’s middle-American associations as attention to elite audiences increased from 1996 to 2016. From Touched by an Angel and 7th Heaven to Preacher and Daredevil, this book explores how Christianity has been used and discussed within the cultures of Hollywood television production. During this twenty-year span, Christian representation on television dramas evolved to exemplify the cultural divide between white middle America and concentrated urban elites. To balance a diminishing and fractured audience, upscale secular audience niches have become increasingly significant to the development and positioning of serial dramatic television since the 1990s, displacing the power that the mass, middlebrow, and assumed Christian audience previously held. As the importance of that middle-American audience waned during this period, creatives paradoxically used white Christianity’s stories and tropes with greater frequency and different strategies. Once white Christianity had become associated with middlebrow tastes, its representation, to appeal to elite audiences, had to be othered, shifted into the unreality of fantastic genres, and eventually—tentatively—acknowledged and used when the potential reward outweighed the legacy sense of risk. This process was dynamic and required constant, difficult negotiation between using Christianity as part of a show’s plot and attempting to avoid its religious, cultural, and class-based associations.
Book chapters on the topic "Trophy industry"
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"Controlling Sex and Death: On the Wildlife Trophy Industry in South Africa." In Nature Conservation in Southern Africa, 214–32. BRILL, 2018. http://dx.doi.org/10.1163/9789004385115_010.
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Nugent, Stephen L. "Embedded tropes and the shift of time." In The Rise and Fall of the Amazon Rubber Industry, 66–84. Routledge, 2017. http://dx.doi.org/10.4324/9781315179971-5.
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Shorter, Edward. "The Fall of Psychopharmacology." In The Rise and Fall of the Age of Psychopharmacology, edited by Edward Shorter, 305–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780197574430.003.0020.
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In 2012, Mickey Nardo forecast the end of an era during the height of the Age of Psychopharmacology and Clinical Neuroscience. Skeptical observers like Nardo asked the disquieting question of why SSRI/SNRIs, SGAs, and mood stabilizers were needed when psychiatrists were just prescribing ineffective drugs for non-existent conditions. Susanna Every-Palmer, a psychiatrist at the Otago Medical School in New Zealand, argued that evidence-based medicine in general was being discredited by the invasion of the pharmaceutical industry. Psychopharmacology was doomed as a scientific concept when it became a vehicle for promoting the pharmaceutical industry. Psychopharmacology’s scientific concept died when it became a trope for selling drugs.
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Ehlers, Sarah. "Fusing an Alloy." In Left of Poetry, 65–102. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.003.0003.
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This chapter charts the formation of the documentary poetry tradition in the U.S. through a consideration of Muriel Rukeyser’s The Book of the Dead. It demonstrates how Rukeyser pushed the boundaries of genre and media to imagine modes of expression that resisted traditional notions of liberal subjectivity. Drawing on multiple valences of the term alloy, the chapter argues that Rukeyser imagined documentary writing as a complex fusing of elements that speculates on the ontology of the poem itself. The chapter begins with an account of the historical, definitional, and theoretical concerns that have shaped documentary poetry. The chapter’s subsequent analyses of The Book of the Dead consider the impact of industry on subject formation: demonstrating how Rukeyser experimented with literary and visual genres, as well as poetic tropes and themes, to devise alternate modalities of personhood that interface the human with the materials of history and industry. The chapter concludes by showing how Rukeyser’s plans to adapt The Book of the Dead into a documentary film demonstrate a combination of formal and technical resources that illuminate new principles of composition.
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Vander Wel, Stephanie. "Domestic Respectability." In Hillbilly Maidens, Okies, and Cowgirls, 175–90. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.003.0008.
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Chapter 7 positions the commercial success of female country artists and the narratives of honky-tonk music against the marketing strategies of 1950s country music. As the country music industry strove for commercial acceptance in the popular music market, it promoted its male (including Hank Williams and Webb Pierce) and female performers (such as Kitty Wells, Jean Shepard, and Goldie Hill) as examples of middle-class propriety. This chapter argues that the contradictions between the lyrical themes of honky-tonk music and the 1950s tropes of domesticity used in marketing individual country artists spoke of and assuaged the anxieties and tensions of social class and geographical migration for an audience of displaced white southerners.
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Andrews, Maggie, and Fan Carter. "Women’s Magazines: The Pursuit of Pleasure and Politics." In The Edinburgh History of the British and Irish Press, Volume 3, 298–314. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424929.003.0015.
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This chapter charts the development of the women’s magazine market in the twentieth century. It argues that while commercial magazines are principally leisure purchases shaped by the expectations of industry and advertisers, they are also spaces where sifting and contested ideas of femininity are worked through. Focusing on two moments of significant social and political change for women, the chapter explores the ways that magazines navigated discourses of feminism and political citizenship alongside familiar tropes of consumer femininity. In the interwar years politicians initially courted newly enfranchised women, and magazines sought to encourage women’s political engagement through a mobilisation of the term 'housewife'. Additionally, an examination of the young women's magazine Honey sheds light on the 1960s and 1970s when both the youth movements and women's liberation came to prominence.
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McKevitt, Steven. "Planning for Success." In The Persuasion Industries, 85–117. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821700.003.0004.
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From the 1970s, consumers were becoming increasingly desensitized to the established tactics and tropes of the hard sell. The need for continued, effective audience engagement led to the emergence of a new methodology—born out of the growing body of sector-related academic research, based on emotional rather than rational appeals with much greater emphasis on the creative content—that allowed the persuasion industry to respond to this challenge. This chapter looks at the key methodological developments in the persuasion industries and their impact, namely the so-called creative revolution in advertising, the conception and adoption of account planning and market positioning, and the emergence of brand marketing. There is also an analysis of the mass media and their role in the delivery of persuasion. Developments and challenges affecting the UK’s burgeoning public relations sector are discussed.
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Brackett, David. "Forward to the Past." In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0003.
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This chapter charts the emergence of “race music”: the earliest music industry category associated with African Americans. This emergence is set against “presentist” histories of blues and jazz, in which historical narratives are tailored to present day beliefs about those genres. The argument is that now-current ideas about racial homogeneity, anti-commercialism, and gender (i.e., the dominance of male participants) in these genres is projected onto the past, creating a more orderly picture than existed in the public discourse of the time. After a discussion of the dominance of minstrelsy tropes in early blues and jazz prior to 1920, the chapter analyzes the stabilization of the race music category following the commercial success of Mamie Smith’s “Crazy Blues” in 1920. The conclusion proposes that the label “race music” brought together then-current ideas of African American identity with an identifiable sound.
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Brackett, David. "The Corny-ness of the Folk." In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0006.
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Country music in the late 1930s was more disconnected from the mainstream than swing. Appearing initially only in cover versions of songs by crooners, or in the recordings of “singing cowboys,” turmoil in the music industry during the war years created an opening for a few extremely successful country recordings exemplified by Al Dexter’s “Pistol Packin’ Mama.” “Hillbilly Music” (as country was usually called during this time) was associated with the concept of “corn,” which allied the music to rural agricultural production and lowbrow, “corny” comedy routines. The popularity of recordings like “Pistol Packin’ Mama” affected a discursive shift, and the status of the music was worked out via the use of labels such as “Folk Music,” “Hillbilly,” “Country,” and “Western.” By the late 1940s, a major hillbilly hit like “Smoke! Smoke! Smoke! (That Cigarette)” drew on some of the same minstrelsy tropes as had “Open the Door, Richard.”
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Washburne, Christopher. "The Second Birth of Latin Jazz." In Latin Jazz, 64–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0004.
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This chapter examines “The Peanut Vendor” as a case study and a lens into the New York City of the 1930s. The role of the popular music industry in promoting “exotica” and “otherness” and how these practices established Cuban music and musicians as the domineering influence in mid-century Latin and jazz mixings are documented. The role of interculturality in 1930s New York jazz is explored, challenging the traditional tropes found in historical narratives that posit jazz as a purely African American or North American music. A closer look at the contextual factors that led to these exchanges calls for a rethinking of jazz as a transnational and global music. This chapter exposes the interracial, interethnic, international, and intercultural complexities and processes that undergird jazz performance practice and that serve as the primary driving forces in the evolution of the music. What becomes clear is that Caribbean and Latin American music and musicians have played significant roles in ways yet to be fully documented and understood.
Conference papers on the topic "Trophy industry"
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Stoica, Catalina, Elena Stanescu, Iuliana Paun, Mihai Nita-Lazar, Stefania Gheorghe, Alina Banciu, and Irina Lucaciu. "TROPHIC STATUS OF DANUBE RIVER AND ITS TRIBUTARIES USING CHLOROPHYLL A AS AN INDICATOR." In International Symposium "The Environment and the Industry". National Research and Development Institute for Industrial Ecology, 2016. http://dx.doi.org/10.21698/simi.2016.0011.
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