Twenty-five years of promoting free markets: a history of Economic Affairs

On the 25th anniversary of Economic Affairs this article examines the history of the journal from its founding in 1980 to the present. It presents an account of the key themes that have featured in the journal during that time and argues that its most important contribution has been to explain how markets operate and why well-meaning government intervention seldom improves upon the imperfect outcomes produced by markets.

Parallel languages in the history of language ideology in Norway and the lesson for Nordic higher education

This chapter compares recent policy on the use of English and Norwegian in Higher Education with earlier policies on the relationship between the two standard varieties of Norwegian, and it charts how and why English became a policy issue in Norway. Based on the experience of over a century of language planning, a highly interventionist approach is today being avoided and language policies in the universities of Norway seek to nurture a situation where English and Norwegian may be used productively side-by-side. However, there remain serious practical challenges to be overcome. This paper also builds on a previous analysis (Linn 2010b) of the metalanguage of Nordic language policy and seeks to clarify the use of the term ‘parallelingualism’.

History of Electrex 1950-1993

Electrex developed from a small exhibition at the start of the 1950s into the top electrotechnical exhibition of products and related services in the UK by the 1990s. Its emergence reflected a complex relationship with the key trade association, BEAMA (the British Electrical and Allied Manufacturers' Association). This history places this development in a wider context marked by the disappearance of the British Industries Fair in the 1950s, the entry to Europe and the establishment of the National Exhibition Centre in Birmingham. In the process it is also a rare case study of the under-explored business histories of exhibitions, as well as casting light on the changing post-war fortunes of the British electrical industries.

The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.