Estimating a War of Attrition: The Case of the U.S. Movie Theater Industry

This paper provides a tractable empirical framework to analyze firm behavior in a dynamic oligopoly when demand is declining over time. I modify Fudenberg and Tirole (1986).s model of exit in a duopoly with incomplete information to a model that can be used in an oligopoly, and combine this with an auxiliary entry model to address the initial conditions problem. I estimate this model with panel data on the U.S. movie theater industry from 1949 to 1955, using variations in TV diffusion rates across households, market structure before the exit game starts, and other market characteristics to identify the parameters in the theater’s payoff function and the distribution of unobservable fixed costs. Using the estimated model, I measure strategic delays in the exit process due to oligopolistic competition and incomplete information. The delay in exit that arises from strategic interaction is 2.7 years on average. Out of these years, 3.7% of this delay is accounted for by incomplete information, while the remaining 96.3% is explained by oligopolistic competition

The creative industries: Theatre in Spain

Treball Final de Grau en Administració d'Empreses. Codi: AE1049. Curs 2019/202

Nell Gwyn’s many after-lives : taming ‘the Protestant Whore’ in 21st century popular fiction

Ever since her supposed self-fashioning as ‘the Protestant Whore’ in the 1660s, Nell Gwyn has become a figure of fascination, revamped and reinterpreted in a multitude of ways along the years: from the black and white films of the 1930s, the story of this Restoration orange seller turned Royal concubine continues to excite the imagination of not just film makers, but of novelists, artists and even jam makers nowadays, as much as it inflamed Restoration audiences. The aim of this paper is to analyse the discourse that lays at the basis of three modern-day reconstructions of Nell Gwyn’s figure in an attempt at drawing a connection between celebrity, pop culture and historical fiction so as to explain the reimagining of this actress as an innocent strumpet, a scheming shrew, a dignified lady and all things in between; this paper takes ideas on celebrity and historical fiction as the theoretical basis upon which to build the criticism of these revampings of Nell Gwyn to better understand the survival of her figure three centuries after her death.peer-reviewe

Encounters and blind spots: Pirandello, Evreinov and Brecht

No abstract available

Beyond the Text: Digital Editions and Performance

Brett D. Hirsch and Janelle Jenstad, “Beyond the Text: Digital Editions and Performance.” Shakespeare Bulletin 34.1 (2016): 107–27

Shakespeare Studies in China

Different from Germany, Japan and India, China has its own unique relation with Shakespeare. Since Shakespeare's works were first introduced into China in 1904, Shakespeare in China has witnessed several phases of developments. In each phase, the characteristic of Shakespeare studies in China is closely associated with the political and cultural situation of the time. This thesis chronicles and analyzes noteworthy scholarship of Shakespeare studies in China, especially since the 1990s, in terms of translation, literary criticism, and performances, and forecasts new territory for future studies of Shakespeare in China

Shakespeare and the hermeneutics of censorship in Renaissance England

Mon mémoire vise à définir, analyser, contextualiser et historiciser la censure à la Renaissance à travers l’exploration de diverses œuvres de Shakespeare, notamment les pièces souvent désignées sous le nom d’Henriad— Henry IV partie 1 et 2, Richard II— tout en portant une attention particulière sur Les Sonnets. Cette thèse s’intéresse à l’interpénétration des différentes institutions de censure, ainsi qu’aux différentes façons dont la censure peut se manifester ; à l’hétérogénéité des institutions, des divers agents, ainsi que des censeurs ; à la manière dont certains mécanismes se rejoignent, coopèrent ou divergent à d’autres moments. L’objectif principal est de démontrer que la censure va au-delà des paramètres de quelconque institution ou agent individuel, et qu’elle résulte de l’amalgame de chaque partie impliquée volontairement ou involontairement dans la prolifération de mesures répressives. Finalement, mon étude démontre que les pièces et Les Sonnets de Shakespeare ont été censurés de différentes manières, et cela, par différentes institutions, mais plus important encore, ce mémoire met en évidence que Shakespeare a mis en avant différents stratagèmes adaptables dans le but de contourner la censure de ses œuvres.This thesis seeks to define, analyze, contextualize, and historicize censorship in the Renaissance through an exploration of Shakespeare’s Sonnets as well as the group of plays often referred to as the Henriad—1 Henry IV, 2 Henry IV, and Richard II. The overarching focus of this thesis is to demonstrate the in-betweenness of censorship—the different ways in which censorship is manifested; the institutions as well as the censors; how different censoring mechanisms merge at certain times, cooperate, or even disagree at others. The goal is to bring forth a clear understanding of the genealogical entity of censorship, to prove that censorship is bigger than any one institution, any one individual, that censorship is an amalgamation of every different susceptible censoring party working together mostly, and sometimes not—voluntarily or involuntarily—in their ever-changing ways of repression. Ultimately, my study of Shakespeare demonstrates that the plays and the sonnets were censored in different ways through different institutions, but more importantly, this paper highlights that Shakespeare had different adaptable ways of circumventing the censorship of his works

Justifications of a 21st century wind ensemble transcription of Mozart\u27s Overture to The Magic Flute based upon late eighteenth century ideology

I will create a transcription for wind ensemble of the Overture to The Magic Flute by WA Mozart. By completing this transcription, a standard orchestral work will be available in comparable quality and difficulty for wind ensemble. Although several simplified and one large concert band transcriptions have been made available during the 20th century, these arrangements were not consistent with late 18th century ideals of size and balance. This transcription will remain loyal to the original work through embracing the ideology of the 18th century musical mind. Through treatises, period writings and performance practice of Mozart\u27s time, I will create a transcription that is both authentic and employs 21st century knowledge of the wind ensemble capability