"Gene-fouled or gene-improved?" – Media framing of GM crops and food in Hungary

This paper presents results from a research which analyzed the reporting on genetically modified crops and food in the Hungarian tabloids and political papers with the highest circulation from 1 May 2007 to 31 October 2009. Both quantitative and qualitative media analysis was conducted. It was found that in contrast to some Western countries the issue had low salience in the investigated period; it featured especially marginally in the tabloids. Two distinct valenced frames could be differentiated: a dominant ANTI-GM (Threat) frame – which was particularly frequent compared to what has been found for some other countries, and a minority PRO-GM (Advancement and Benefits) frame. Despite a range of similarities with what had been reported by previous research from some other countries, argumentation on the GMO topic in the Hungarian press had several distinct characteristics, one of which was the relative prominence of economic arguments against the technology.

Media presentation and public understanding of stem cells and stem cell research in Hungary

This paper reports on a research project which examined media coverage and audience perceptions of stem cells and stem cell research in Hungary, using focus groups and a media analysis. A background study was also conducted on the Hungarian legal, social and political situation linked to stem cell research, treatment and storage. Our data shows how stem cell research/treatments were framed by the focus group members in terms of medical results/cures and human interest stories – mirroring the dominant frames utilized by the Hungarian press. The spontaneous discourse on stem cells in the groups involved a non-political and non-controversial understanding – also echoing the dominant presentation of the media. Comparing our results with those of a UK study, we found that although there are some similarities, UK and Hungarian focus group participants framed the issue of stem cell research differently in many respects – and these differences often echoed the divergences of the media coverage in the two countries. We conclude by arguing against approaches which attribute only negligible influence to the media – especially in the case of complex scientific topics and when the dominant information source for the public is the media.

Cross-country and inter-temporal analysis of Supply Chain Integration (SCI): China, Hungary and the Netherlands - changes in SCI from 1996 to 2008

Using plant level data from a global survey with multiple time frames, one begun in the late 1990s, this paper introduces measures of supply chain integration and discusses the dynamic relationship between the level of integration and a set of internal and external performance measurements. Specifically, data from Hungary, The Netherlands and The People’s Republic of China are used in the analyses. The time frames considered range from the late 1990s till 2009, encompassing major changes and transitions. Our results seem to indicate that SCI has an underlying structure of four sets of indicators, namely: (1) delivery frequency from the supplier or to the customer; (2) sharing internal processes with suppliers; (3) sharing internal processes with buyers and (4) joint facility location with partners. The differences between groups in terms of several performance measures proved to be small, being mostly statistically insignificant - but looking at the ANOVA table we can conclude that in this sample of companies those having joint location with their partners seem to outperform others.

Open innovation in the performing arts. Examples from contemporary dance and theatre production

Scholarship on open innovation examines the different shades of opening up the innovation process of firms, where the most important feature is sourcing in knowledge. In this paper I examine the implications of adapting open innovation frames to a field where it was not investigated before: performing arts (contemporary dance and theatre). I draw on case studies and demonstrate that open innovation strategies are viable for artistic production. Independent companies purposefully mining out external knowledge in production, and commercializing on the spillovers of their body of knowledge, put themselves on the shelf of firms adopting and adapting to open innovation.