Search results

The growth in popularity of new media has led some television networks in the United States to experiment with alternative forms of political debate by encouraging viewers of all ages to submit video questions to political candidates. Surprisingly, however, experimentation with this new type of debate format in the 2008 U.S. presidential election cycle did not lead to the adoption of new debate formats in the subsequent 2012 election cycle, despite its success with viewing audiences. This study examines various debate formats to understand the value of participatory, user-generated debate question formats versus more traditional debate question formats whereby moderators or live audience members ask presidential candidates scripted questions.

Using a between-subjects experiment, this study examines four types of televised debate formats to assess young adult viewers’ impressions of each format as well as image perceptions of a political candidate and the individual posing the debate question.

The findings suggest debate formats impact perceptions of a political candidate’s image differently for young men and young women. In addition, varying the debate format impacts young voters’ perceptions of debate questioners as well as their overall perceptions of the debate. Implications for viewing audiences are discussed.

U.S. presidential candidates should embrace presidential debate formats that encourage citizens to participate in the political process via new media technologies.

This study shows implementing more engaging and interactive presidential debate formats can positively impact young voters’ perceptions.

Misconduct by lawyers in law firms is often attributed to pressures from increasing competition for legal services. Modern firms do face fierce competitive pressures. We can gain more subtle insights, however, by focusing on the specific markets in which particular firms operate and how forms of influence in law firms interact with common patterns of behavior in organizations. This chapter draws on this approach to analyze the experience of Jenkens & Gilchrist, a national law firm that had to close its doors in 2007 because of tax shelter work that triggered civil lawsuits and government investigations.

Purpose – This chapter examines how prison spaces are depicted in fictional contexts built around icons of popular music. Given that both icons and inmates occupy spaces that the majority of the population does not observe or experience, I am interested in the degree to which prisons serve as stagings for queer expression, even when inhabited by mainstream music stars.

Design/methodology/approach – The lyrical content and visual texts of Elvis Presley’s “Jailhouse Rock,” Michael Jackson’s “They Don’t Care About Us,” Lady Gaga’s “Telephone,” as well as material from mainstream musicals like Chicago, are closely analyzed and linked to other scholarly work on prison narratives.

Findings – In addition to binding the power of pop iconicity to the experience of incarceration, the musical numbers and cultural artifacts examined here also reveal differing manifestations of queer motifs in their visual and lyrical construction. Mainstream representations of prisons’ unique and liminal social orders are therefore considered to be open to queer renderings of affection and provocation.

Originality/value – Although prison sexuality is intensely studied by human rights organizations and criminologists, the possibilities for queer expression within fictional prison contexts have not been explicitly linked to the pop personas of music superstars and their creative projects.

Only two days before the UN imposed a mandatory arms embargo on Eritrea and Ethiopia, the German Minister for Development, Heidemarie Wieczorek-Zeul, issued a communiqué wherein she described the ongoing absence of international export restrictions against the warring countries as nothing less than a “scandal” (Agence France Press, May 15, 2000). Indeed, the war between Eritrea and Ethiopia had pre-dated the embargo by two years.