17 research outputs found
The safe are rationed, the risky not – an extension of the Stiglitz-Weiss model
No full textUsing only two risk types in the Stiglitz-Weiss model it turns out that the return function for banks has to be double hump-shaped. We derive the demand for loans and the supply of loans and find that loans are provided at two interest rates in equilibrium. The safe borrowers are rationed at the lower interest rate, whereas the risky borrowers are not rationed at all. Compared to the existing literature this suggests that the more heterogenous the risk types are, the less credit is rationed. However, credit-rationing persists in equilibrium as long as we consider a discrete number of types.
To switch or not to switch - Can individual lending do better in microfinance than group lending?
No full textThese days it has been witnessed, that banks other individual loans instead of group loans and develop products based on individual liability in developing coun- tries. In order to study this surprising turn, we expand the conventional approach on decision making of individuals. A social prestige function is introduced that re- ‡ects the non-monetary impacts of group membership on the individual and on her decisions. If a borrower possesses more than a critical level of wealth, it is optimal for her to switch to individual borrowing. From a welfare perspective, a mixture of individual and group loans is desirable. However, the average borrower switches from group to individual lending too soon.
To switch or not to switch - Can individual lending do better in micronance than group lending?
No full textThese days it has been witnessed, that banks o¤er individual loans instead of
group loans and develop products based on individual liability in developing coun-
tries. In order to study this surprising turn, we expand the conventional approach
on decision making of individuals. A social prestige function is introduced that re-
‡ects the non-monetary impacts of group membership on the individual and on her
decisions. If a borrower possesses more than a critical level of wealth, it is optimal
for her to switch to individual borrowing. From a welfare perspective, a mixture
of individual and group loans is desirable. However, the average borrower switches
from group to individual lending too soon.
A Reconsideration of the Stiglitz-Weiss Model with a Discrete Number of Borrower Types
No full textIn this paper we show that the equilibrium in the Stiglitz-Weiss model (Stiglitz and Weiss, 1981) is a two-interest rate equilibrium. For this we use the true return-function for banks shown by Arnold (2005), the assumption of Bertrand competition and make a consideration for a discrete number of borrowers. Rationing only affects one group of the borrowers, i.e. the borrowers with a safe project. The risky group always receives the funds it demands.credit rationing, asymmetric information, adverse selection
A Reconsideration of the Stiglitz-Weiss Model with a Discrete Number of Borrower Types
No full textIn this paper we show that the equilibrium in the Stiglitz-Weiss model (Stiglitz and Weiss, 1981) is a two-interest rate equilibrium. For this we use the true return-function for banks shown by Arnold (2005), the assumption of Bertrand competition and make a consideration for a discrete number of borrowers. Rationing only affects one group of the borrowers, i.e. the borrowers with a safe project. The risky group always receives the funds it demands
Rape in World War II film: comparing narrations
No full textThe objective of this paper is to show how the filmmaker’s genre of choice shapes the main discourse of the film. The author compares Helke Sander’s documentary Liberators Take Liberties (1991-1992) and Max Farberbock’s narrative feature A Woman in Berlin (2008) both dealing with the dramatic effect of the end of WWII, in particular with the instances of German women having been raped by the Allied troops, a theme first publicized in the anonymous diary A Woman in Berlin (1953). There is a clear connection between the book and the two films, but if Sander focuses on the rape itself and on the extraordinary female experience of war, Farberbock is more concerned with cross-national revenge. The author looks closer at the genre elements, particularly at the genres of the diary, the (feminist) documentary, and the narrative film. Then, the author draws some parallels between the Helke Sander film and the diary A Woman of Berlin and discusses the documentaries within the feminist framework inspired by Sander’s accomplishments
Review: Miriam Gebhardt. Als die Soldaten kamen. Die Vergewaltigung deutscher Frauen am Ende des Zweiten Weltkriegs
No full textIn lieu of an abstract, here is the first paragraph of the review:
Miriam Gebhardt’s work bravely and expertly reorients the discourse concerning rape committed against German women at the end and in the immediate aftermath of World War II. Like many of her predecessors, Gebhardt attempts to uncover why so many women fell prey to the occupational forces. Refreshingly, she does not repeat Helke Sander’s and Erich Kuby’s oft-cited scholarship on the subject, choosing to innovate upon it instead. For Gebhardt, rape is not simply an unfortunate byproduct of war, caused by hatred and revenge against the enemy Other. Rather, it is a symptom of the early twentieth century’s gender insecurities. Traditional gender hierarchies were at stake as the West opened up to alternative lifestyles for men and women, and as the East established a state-decreed gender equality law. Many soldiers were threatened by the collapse of the old order when they entered the war, which, according to Gebhardt, abetted sexual violence in Germany. The author believes that mass rape might be the persecutors’ subtle wish for a clear-cut gender hierarchy, in which the supposedly masculinized strong overpower the feminized weak. Gebhardt’s unique argument is perfectly in line with the overall progressive tone of her work. In her five chapters, she systematically dispels predominant myths that have thus far pervaded the scholarship, including the misidentification of the Red Army as the main persecutors of rape, as well as the assertion that German men repudiated children who resulted from the abuse
The Woman at the Keyhole
No full textThe title of this book takes as its point of reference those early, primitive films in which mostly men, but occasionally women, peek through keyholes, offering bold demonstrations of the voyeuristic pleasure that has been central to virtually every contemporary theory of cinema. When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. The question is not only who or what is on either side of the keyhole, but also what lies between them, what constitutes the threshold that makes representation possible. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative. Films discussed include Helke Sander's Redupers, Julie Dash's Illusions, Patricia Rozema's I've Heard the Mermaids Singing, Yvonne Rainer's The Man Who Envied Women, Chantal Akerman's Je tu il elle, Ulrike Ottinger's Ticket of No Return, Anne Severson's Near the Big Chakra, Suzan Pitt's Asparagus, Germaine Dulac's The Smiling Madame Beudet, Agnes Varda's Cleo from 5 to 7, Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Trin T. Minh-ha's Reassem-blage, Laleen Jayamanne's A Song of Ceylon, and the films of Dorothy Arzner
The Woman at the Keyhole
No full textThe title of this book takes as its point of reference those early, primitive films in which mostly men, but occasionally women, peek through keyholes, offering bold demonstrations of the voyeuristic pleasure that has been central to virtually every contemporary theory of cinema. When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. The question is not only who or what is on either side of the keyhole, but also what lies between them, what constitutes the threshold that makes representation possible. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative. Films discussed include Helke Sander's Redupers, Julie Dash's Illusions, Patricia Rozema's I've Heard the Mermaids Singing, Yvonne Rainer's The Man Who Envied Women, Chantal Akerman's Je tu il elle, Ulrike Ottinger's Ticket of No Return, Anne Severson's Near the Big Chakra, Suzan Pitt's Asparagus, Germaine Dulac's The Smiling Madame Beudet, Agnes Varda's Cleo from 5 to 7, Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Trin T. Minh-ha's Reassem-blage, Laleen Jayamanne's A Song of Ceylon, and the films of Dorothy Arzner
Dramaturgical approach in cinema : elements of poetic dramaturgy in A. Tarkovsky's films
No full textThis thesis by publication examines dramaturgical screenwriting theories as operative methods for producing cinematic narratives, their regularities and evolving constructions. In spite of a wealth of studies and analyses on film and publications and guidebooks on how to write a screenplay, there are, nevertheless, few critical academic studies on dramaturgical techniques from the screenwriter’s perspective. Thus authorship serves as the basic premise for this study and generates the theoretical framework for the research, which is defined as practice-led research.
The thesis introduces the dramaturgical approach in film, which is employed as a framework for a dramaturgical analysis of two Andrei Tarkovsky’s films – Ivan’s Childhood (1962) and Nostalgia (1983). The analysis identifies certain dramaturgical tools and techniques, which can be characterized as poetic. The adoption of a dramaturgical tool relates to the story material and to the theme/meaning conveyed through this material. Thus the function of the dramaturgical tool can be identified only within the overall story composition as generated by the author.
In addition, this study aims to define the aesthetic independence of the screenplay using a dramaturgical approach. The aesthetic independence is typically defined by the direct relationship between the viewer and the artwork. The screenplay, however, is actualized for the viewer only via its cinematic performance. The aesthetic independence of the screenplay is explored by studying the contribution of the screenplay to the cinematic performance and, consequently, to the viewer’s experience of it. The study suggests that particular visual poetic elements within a film originate from its screenplay, and therefore contribute to the aesthetic independence of the screenplay.
The study demonstrates that dramaturgy can be understood as dramaturgical activity, that is, all those choices made by the author in order to build a cinematic performance for the viewer to experience. In addition, the study demonstrates that in order to understand the core of dramaturgy within cinema, it needs to be detached from the context of the theatre and examined within the context of dramatic composition for cinematic performance. The results suggest that modern film has developed a variation of dramaturgy, with its own cinematic characteristics, which forms part of the screenwriter’s craft and affects current storytelling practices in cinema and TV. This variation of dramaturgy can also be used to create dramatic content for other platforms, such as Internet and digital games. The study also indicates that critical research on film dramaturgy as practice-oriented research is required both diachronically as well as contemporaneously
