Rules for Cultural Radicals

Abstract: This article explores the various forms of “social skill”, what we call “rules for cultural radicals”, that the Amber Film and Photography Collective (and primarily its founder and leading visionary, Murray Martin) used to create and sustain an egalitarian arts organization and oppositional cultural movement in the Northeast of England. The collective represented a radical challenge to the world of British filmmaking, featuring innovative practices of cultural work, non‐commodified forms of cultural economy and a commitment to a democratic culture. These “rules” constituted innovative forms of strategic action—visionary leadership, improvisation, risk taking, brokerage—that helped create a durable collective identity and networks of solidarity. We explore the extent to which Amber's “rules” are prefigurative of contemporary forms of cultural activism and radical artistic practice.     

Micronesia: The politics of the colonized

Carl Heine. Micronesia at the Crossroads: A Reappraisal of the Micronesian Political Dilemma. Honolulu: The University Press of Hawaii, 1974. xvi + 210 pp. Notes, appendices, bibliography, and index. $10.00 (cloth); $2.95 (paper).

Daniel T. Hughes and Sherwood G. Lingenfelter, eds. Political Development in Micronesia. Columbus: Ohio State University Press, 1974. 333 pp. Tables, charts, references, and index. $15.00.     

Anthropology and alcohol: In search of a new paradigm

Jerrold E. Levy and Stephen J. Kunitz. Indian Drinking: Navajo Practices and Anglo‐American Theories. New York: John Wiley & Sons, 1974. xii + 257 pp. Tables, notes, appendices, bibliography, and index. $12.50.

William Madsen. The American Alcoholic: The Nature‐Nurture Controversy in Alcoholic Research and Therapy. Springfield: Charles C. Thomas, 1974. xvii + 248 pp. References, author and subject indices. $11.50.     

The State Legislature in American History: A Review Essay

Abstract

The author discusses a very rich resource for studying the Great Depression: the Censuses of Manufactures from 1929, 1931, 1933, and 1935. He highlights the strengths and weaknesses of this source in terms of the information available on the schedules and the quality of the data. In terms of information collected, these censuses compare favorably with the modern Census of Manufactures with some limitations. The author also draws on some published studies to argue that the records held at the National Archives are (in general) complete enumerations of the establishments existing at the time. He then conducts tests for the presence of measurement error and finds a limited role.     

The Misuse of Area in Mapping Census-Type Numbers

Abstract

Polish lands in 19th century are usually located in the economic peripheries of Europe. However there are no usable datasets of Polish GDP for this period to verify this hypothesis. The main problem is lack of reliable and comparable macroeconomic data from country divided between Russia, Austria and Prussia. The main goal of this research was to propose the method based on the urbanization data set to estimate the GDP of Polish territories and to verify the hypothesis on the peripheral development of Polish lands. In result the new estimates on GDP per capita were established, that allowed to confirm the hypothesis of semi-peripheral development of Polish territories in 19th century and slow process of catching-up with the core economies.     

Sociology,Religion, and Historians Revisited: Towards an Historical Sociology of Religion

Abstract

Two great movie directors were both born in 1930. One of them, Jean-Luc Godard, revolutionized filmmaking during his 30s and declined in creativity thereafter. In contrast, Clint Eastwood did not direct his first movie until he had passed the age of 40 and did not emerge as an important director until after he was 60. This dramatic difference in life cycles was not accidental, but was a characteristic example of a pattern that has been identified across the arts: Godard was a conceptual innovator who peaked early, whereas Eastwood was an experimental innovator who improved with experience. This article examines the goals, methods, and creative life cycles of Godard, Eastwood, and eight other directors who were the most important filmmakers of the second half of the twentieth century. Francis Ford Coppola, Stanley Kubrick, Stephen Spielberg, and François Truffaut join Godard in the category of conceptual young geniuses, while Woody Allen, Robert Altman, John Cassavetes, and Martin Scorsese are classed with Eastwood as experimental old masters. In an era in which conceptual innovators have dominated a number of artistic activities, the strong representation of experimental innovators among the greatest film directors is an interesting phenomenon.