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Sociologists have long recognized that stable patterns of exchange within a market depend on the ability of market actors to solve the problem of cooperation. Less well recognized and understood is a second problem that must be solved – the problem of Knightian uncertainty. This chapter posits that the problem of Knightian uncertainty occurs not only in the market; it underlies a variety of exchange contexts – not just markets, but art worlds and professions as well. These three exchange contexts are similar in so far as a generally accepted quality schema arises as an important solution to the problem of Knightian uncertainty; however, the quality schemas that arise in these three contexts differ systematically along two dimensions – the complexity of the schema and the extent to which the “non-producers” have a voice in the determination of the quality schema. By comparing and contrasting the way in which quality schemas arise in these three domains, this chapter (1) gives some specificity to the notion of quality as a social construction; (2) provides some preliminary insight into why a particular good or service becomes perceived as a market, artistic, or professional offering; and (3) offers an imagery for conceptualizing the mobility of goods and services between these three domains.

The Jason Bourne series of films (2002–2016) are widely acknowledged with helping to successfully re-invent the action thriller genre in the 2000s by focusing more on motivation and plot than over-the-top spectacle. Featuring a profoundly wounded son figure in the titular character, the films are indicative of an awareness of the vulnerabilities and reactions of a fatherless masculinity within a post-Cold War political reality.

This chapter will argue that Bourne's onscreen pain and subsequent violent responses to his various narrative predicaments are a result of being repeatedly betrayed by a series of older males, in many cases, father surrogates. Bourne's experience of this paternal disruption and betrayal is the key psychological motivating factor, with the films and the story arc of the character only being resolved when both he and the audience finally discover and reconcile the role that his biological father played in shaping his destiny and his life. This ‘father hunger’ – in effect a need for a continuative masculinity – that Jason Bourne experiences, and that is arguably at the heart of the franchise, will be analysed and explored within the contexts of post-Jungian screen theory. Alongside the deliberately casting of ‘quality’ actors (such as Brian Cox, Joan Allen, Tommy Lee Jones, David Strathairn) and other formalist elements of the text, archetypal energies and symbolism are also rife throughout the film, and can be, in part, credited with the critical and commercial success of the films. Finally, the films are put in their cinematic context in terms of the influence they subsequently exerted on other action film franchises – particularly James Bond (1962 to present).

Using a general model of corruption that explains and accounts for corruption across professions and institutions, this chapter will examine how certain practices in the media, especially in areas where journalism, advertising and public relations regularly intersect and converge, can be construed as instances of corruption. It will be argued that such corruption, as in the case of cash-for-comment scandals, advertorials, infomercials, and infotainment, as well as public relations media releases disseminated misleadingly as journalistic opinion, is regular, ubiquitous, and systematic.

Migrant workers are often concentrated in segments of the labour market characterised by low-paid and insecure work and which fall outside of the traditional ‘web of rules’ providing workers with protections. Institutional experimentation provides an opportunity to rectify this. This chapter examines the reasons why migrant workers are often subject to exploitation and marginalisation in the labour market. It then analyses the roles of the three main actors with the capacity to protect and improve migrant workers’ labour market position: governments, trade unions and community organisations. It proposes a ‘co-regulation’ approach based on collaborative institutional experimentation between these actors as the most effective way to address the exploitation and marginalisation of migrant workers.

This study applies theoretical perspectives from urban, environmental, and organization studies to examine if “smart growth” represents an ecological restructuring of the political economy of conventional urban development, long theorized as a “growth machine” (Molotch, H. (1976) The city as growth machine: Toward a political economy of place. American Journal of Sociology, 82, 309–332; Logan & Molotch, 2007); the purpose is to determine if there is a “smart growth machine.”

Nine smart growth projects (SGPs) in four cities in California and Oregon were identified and semistructured interviews were held with the respective developers, architects, and civic officials involved in their implementation process. Comparative, descriptive, and grounded approaches were used to generate themes from interviews and other data sources.

The findings suggest that an ecological modernization of urban political economy occurs through the coordination of entrepreneurial action, technical expertise, and “smart” regulation. Individual and institutional entrepreneurs shift the organizational field of urban development. Technical expertise is needed to make projects sustainable and financially feasible. Finally, a “smart” regulatory framework that balances regulations and incentives is needed to forge cooperative relationships between local governments and developers. This constellation of actors and institutions represents a smart growth machine.

The author questions whether urban growth can become “smart” using an original study of nine SGPs in four cities across California and Oregon.