Research Article
When Prominence Overrules EminenceSubsidization of the Cultural Sectors in the Netherlands
Michelle Van Dun
,
Rik Koolma*
Issue:
Volume 12, Issue 4, August 2024
Pages:
88-101
Received:
28 May 2024
Accepted:
12 June 2024
Published:
29 July 2024
Abstract: What processes determine the allocation of state subsidies to a selection of cultural and artistic organizations? In the case of the Dutch cultural basic infrastructure (BIS) two main criteria are issued, namely quality and reputation. In this article, no attempt is made to define measures for artistic quality and reputation. Instead, it is observed by which criteria decision makers, public media, and artistic leaders refer to these concepts. The way in which the selection and granting are performed shows striking similarity with processes described in the literature. First, the theory of social comparison asserts that people in a shared activity compare opinions and abilities in a strife for growth. When technical constraints and limits impede the progress in ability, effort and attention shift to opinions on abilities of the members. In this social dimension, growth is more easily attained. This decoupling results into stagnation and inferior learning processes. Second, in an implicit elaboration of the social comparison theory, a model is proposed in which perceived quality and prominence determine which organization will receive price premiums. Perceived quality is indicated by the quality of the inputs and productivity assets. Prominence origins from media rankings and elicited preferences of intermediary organizations and affiliation with high-status actors. Prominence has more bearing in social processes in the institutional field than on quality indicators. This model provides a base for reputation bias among stakeholders of organizations. The theoretical approaches have been operationalized into an analytical framework. The framework appears to offer a powerful and accurate instrument to describe and explain courses of action and outcomes in Dutch cultural sectors. In discussion, it is questioned if it is wise to base a subsidization policy on social comparison. The strive for prominence in the institutional fields tends to overrule the search for quality and eminence. It is recommended to reconsider social comparison processes by reduction of the arbitrariness in the performance assessment and evaluation. In this respect, promising and high-quality performers are supported in their access to large audiences. It is proposed that the framework can be applied in all situations where resources and performance opportunities are allocated to a selection of executing actors. Choices will be based on a mix of past and future performances. The situations suited for application may vary from philanthropy to hard core and non-profit sectors to private business industries.
Abstract: What processes determine the allocation of state subsidies to a selection of cultural and artistic organizations? In the case of the Dutch cultural basic infrastructure (BIS) two main criteria are issued, namely quality and reputation. In this article, no attempt is made to define measures for artistic quality and reputation. Instead, it is observe...
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Research Article
A Critical Appreciation of the Commercial Blockbusters by Zhang Yimou
Zhang Qianyu*
Issue:
Volume 12, Issue 4, August 2024
Pages:
102-106
Received:
17 June 2024
Accepted:
15 July 2024
Published:
6 August 2024
Abstract: It is essential to note that for the past two decades the majority of the Fifth Generation directors have experienced an obvious shift of film-making from art cinema to the production of commercial blockbusters. By means of borrowing Hollywood’s “high concept” cinema, the local blockbusters featuring Chinese cultural elements are very emphatic about symbolism and visual effects of productions that are bringing to the audience new and stirring feel. And in the blockbusters of Chinese style, the stardom and renowned directors are the guaranteed success of box office. In terms of thematic subjects, the representative director Zhang Yimou has with certainty showcased his reflections on the unlimited power hierarchy and the impulse to deconstruct it in his works, which contain social and cultural allegories and morality problems of family. The so-called “commercial blockbusters” as Hero and House of Flying Daggers have utilized the unique on-site shooting and color effects to achieve the desired results. At the same time Zhang Yimou has in his art house works benefited from Akira Kurosawa, master of the genre, and some technicalities in gangster film. Zhang’s blockbusters of swordsman and Wuxia (martial art) have made an immense box value owing to their tactic violation of the mainstream ideologies. As a result, they are not regularly categorized as the most significant movie of the day. Being Zhang’s last blockbuster, Curse of the Golden Flower takes advantage of merging spectacular scenes and artificial staging for the purpose of authentic representation and imagination. This is also materialized by his cleverly adapting the original work of fame by Cao Yu, a contemporary playwright. Zhang Yimou’s blockbusters, with his special aesthetic, has largely succeeded in an economic sense, but failed ideologically to merge in the mainstream cinema of China.
Abstract: It is essential to note that for the past two decades the majority of the Fifth Generation directors have experienced an obvious shift of film-making from art cinema to the production of commercial blockbusters. By means of borrowing Hollywood’s “high concept” cinema, the local blockbusters featuring Chinese cultural elements are very emphatic abou...
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Research Article
The Question of Moral Education: Reading Selected Bangla and English Folktales
Md. Habibur Rahman*
Issue:
Volume 12, Issue 4, August 2024
Pages:
107-115
Received:
13 June 2024
Accepted:
18 July 2024
Published:
15 August 2024
Abstract: Moral education is a type of education that distinguishes between right and wrong and determines human behaviour. In other words, moral education is an educational programme that focuses on moral and ethical values. The folktales' moral education aims to prepare the audience to be responsible, respectful, and resilient citizens who will contribute to the development of society, the nation, and the world at large. This study classifies moral themes and investigates their educational impact by conducting a qualitative content analysis of selected Bangala and English folktales. The study finds that each folktale incorporates some moral education, which is necessary in all aspects of human society. Folktales from the oral literary tradition play an important role in imparting moral education that includes historical, cultural, and religious ideologies and values. Folktale performances convey the moral values imbued in folktales to both children and adults. Folktale performance has been a part of human culture since time immemorial. The stories told in a pleasant ambience not only entertain, but also teach children moral lessons and values that will help them become better members of society. The folktale genre aims to educate children by instilling moral values, socialisation, behavioural changes, psychological development, and spiritual upliftment. The study concludes proving that these folktale-based lessons teach children human qualities like hard work, courage, love, sympathy, forgiveness, respect for elders, patriotism, tolerance, heroism, truthfulness, fraternity, and religiosity, among others. Furthermore, these folktale performances also highlight social vices such as pride, envy, wrath, theft, hatred, wickedness, ingratitude, injustice, disobedience, and dishonesty, which typically lead to retribution and nemesis.
Abstract: Moral education is a type of education that distinguishes between right and wrong and determines human behaviour. In other words, moral education is an educational programme that focuses on moral and ethical values. The folktales' moral education aims to prepare the audience to be responsible, respectful, and resilient citizens who will contribute ...
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