Editorial : when do repeated intrusions become stalking?

Stalking is a prevalent crime which can significantly compromise the victim's quality of life. It occurs when one person repeatedly inflicts on another unwanted contacts or communications which induce fear. Many of the behaviours associated with stalking overlap with common, albeit irritating, experiences (e.g. being persistently telephoned or approached for a date). The difficulty for victims is recognizing the difference between brief episodes of intrusiveness or social awkwardness, and the beginnings of a more persistent campaign of harassment. This study sought to define empirically the foremost juncture at which instances of intrusiveness can be distinguished from persistent stalking which is ultimately damaging to the victim's psychosocial functioning. The results indicate that continuation of unwanted intrusions beyond a threshold of 2 weeks is associated with a more intrusive, threatening and psychologically damaging course of harassment. Recognition that 2 weeks is the watershed between brief, self-limiting instances of intrusiveness and protracted stalking allows an opportunity for early intervention to assist victims of this crime.

Ethnocentricity in academic marketing journals: a study of authors, reviewers, editorial boards and editors

Purpose – This paper aims to examine and compare a set of key characteristics of ethnocentricity that influence the policy of academic marketing journals, and hence the provenance, authorship and nature of articles in academic marketing journals.

Design/methodology/approach – The “fundamental” characteristics of three major marketing journals, published in the USA, the UK and New Zealand, were examined for the six-year period from the start of 2000 to the end of 2006. Data were collected from editorials and web homepages. Analysis was conducted of 811 articles, 1,676 authors, three editorial teams and three sets of reviewers

Findings – There is a challenging academic ethnocentricity in the management and implied policy of the three journals. The extent varies, but the inescapable conclusion is that the world-wide research community in marketing is not properly represented by leading journals.

Research limitations/implications – The sample was intentionally small, and unrepresentative of any category except “leading quality”. The findings are intended to add momentum to a debate and point ways forward, not to provide generalisable answers.

Practical implications – The findings suggest that: the editorial boards and reviewing teams should be made more representative geographically; editorships should be organized around the concept of a team of geographically differentiated editors; editorial and review teams should be ethnographically representative of individuals who do research and wish to publish it, particularly beyond the English-speaking world. In general, the world-wide research community in marketing would benefit from less ethnocentricity in academic journals, and these leading examples should strive to reduce it.

Originality/value – The impact of ethnocentricity is underestimated in this context. The issue needs to be discussed, because of paradigmatic influences that it can have on a journal and the profile of its authors, and hence on journal ranking and perceptions of journal quality.

Perceptions of gender balance of IS journal editorial positions

An analysis of 18,854 editorial positions on IS journals was undertaken to examine the perceived gender balance of those positions as an indication of their contribution towards a positive role model for females considering an IS academic career. The nature and extent of perceived gender balance is examined in terms of overall composition of editorial positions, journal prestige and the specific area within IS covered by a journal. The results indicate that perceived gender balance of editorial positions reflects that of ICT academia generally, and that female representation appears to be concentrated in journals covering areas that are traditionally seen as female occupations, e.g., health, education, librarianship. As such, little or no encouragement is given to females considering an IS academic career.

Guest editorial

An examination of Australian media reports over the last twelve months on the subject of Indigenous arts suggests a number of significant contradictions. Indigenous affairs Minister Amanda Vanstone called Aboriginal arts ‘Australia’s greatest cultural gift to the world’ (Australian, 24 January 2006), while the always-controversial expatriate Germaine Greer argued that much Indigenous art was in fact poor quality and ‘a big con’ (West Australian, 13 December 2005). Curators at France’s Musee du Quai Branly dedicated a wing of the new gallery to Aboriginal art. Yet many Indigenous leaders – including David Ross from the Central Land Council and Hetti Perkins, curator of Indigenous Arts at the Art Gallery of NSW – continue to publicise the widespread exploitation of Aboriginal artists in Central Australia by unscrupulous art dealers (Northern Territory News, 22 December 2005). Former head of the Northern Land Council and former Australian of the Year, Galarrwuy Yunupingu, who twenty years ago presented Bob Hawke with the painting Barunga Statement in celebration of the government’s commitment to a treaty, recently threatened to take the painting back from Parliament House in protest against ‘successive governments’’ neglect of Indigenous policy (Sydney Morning Herald, 21 January 2006). And in the performing arts, Richard Walley drew attention to the lack of professional recognition of Indigenous performing artists (Australian, 24 January 2006).

Such contradictions within the management and marketing of Indigenous arts have persisted for several years, and it was in response that this special issue of the Asia Pacific Journal of Arts and Cultural Management was initiated. As guest editors, we sought to present research that examines, more deeply and constructively, the marketing of Indigenous arts in Australia both historically and in the present. What emerges from this collection of five papers is a familiar scholarly theme: a tension between the ‘periphery’ and the ‘centre’, between outback and city, between larger and smaller Australian states and between Australia and other nations.

Jonathan Sweet’s ‘UNESCO and cultural heritage practice in Australia in the 1950s’ looks at the evolving relationship between Australia and the United Nations through an analysis of a significant touring exhibition: Australian Aboriginal Culture. Sweet pinpoints the 1950s as a period in which Australian museology’s approach to Indigenous cultures gradually changed, and in which Australian participation in UNESCO through the exhibition helped shape the ideological position UNESCO advocated. His article provides a useful historical contrast against which the following four articles may be read.

Chapman, Cardamone, Manahan and Rentschler look at local and contemporary issues in Indigenous arts marketing. Katrina Chapman’s ‘Positioning urban Aboriginal art in the Australian Indigenous art market’ investigates perceptions about contemporary urban Aboriginal art, concluding that the estrangement – and indeed stereotyping – of urban and traditional art creates a false set of values that urban artists are challenging. Similarly, Megan Cardamone, Esmai Manahan and Ruth Rentschler contrast perceptions of Aboriginal arts from the northern and south-eastern states, identifying crucial misconceptions that contribute to the value system applied to these arts. As Ruth Rentschler is a joint editor of this issue, the review process for this article has been managed by Katya Johanson as co-editor.

Two case studies of marketing the arts – which look at different artforms and in opposite sides of the country – then follow. Jennifer Radbourne, Janet Campbell and Vera Ding’s ‘Building audiences for Indigenous theatre’ analyses research on audiences and potential audiences for Kooemba Jdarra – Brisbane’s Indigenous performing arts company – to identify the ways in which audience attendance may be encouraged.

Finally, Jacqui Healy’s ‘Balgo 4-04’ provides a close examination of a unique art exhibition: a major commercial exhibition of the kind usually seen in Sydney and Melbourne, held in an arts centre in the middle of the Tanami Desert and retailing directly to collectors.

The editors are grateful to Warlayirti Artists Art Centre for permission to use the photographs that accompany Jacqui Healy’s article. We would also like to thank the contributors, Jo Caust for the opportunity to present this special issue, and Pearl Field for her assistance in putting it all together.

Editorial

In the way that submissions to journals sometimes observe a strange synchronicity, this issue commences with three essays focusing on film. Relatively little work has been carried out on the ideologies of films designed specifically for children or of that large body of films regarded as family viewing, and which cater both to child viewers and also to the adults who accompany them. The three ‘film’ essays we present here apply a variety of theoretical and methodological frames to films which in the main fit within the second of these categories—family films.