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60 andrew gelman stats-2010-05-30-What Auteur Theory and Freshwater Economics have in common


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Introduction: Mark Palko writes : We’ll define freshwater economics as the theory that economic behavior (and perhaps most non-economic behavior) can be explained using the concepts of rational actors and efficient markets and auteur theory as the idea that most films (particularly great films) represent the artistic vision of a single author (almost always the director) and the best way to approach one of those films is through the body of work of its author. Both of these definitions are oversimplified and a bit unfair but they will get the discussion started. . . . Compared to their nearest neighbors, film criticism and economics (particularly macroeconomics) are both difficult, messy fields. Films are collaborative efforts where individual contributions defy attribution and creative decisions often can’t be distinguished from accidents of filming. Worse yet, most films are the product of large corporations which means that dozens of VPs and executives might have played a role (sometimes


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1 Both of these definitions are oversimplified and a bit unfair but they will get the discussion started. [sent-2, score-0.068]

2 Compared to their nearest neighbors, film criticism and economics (particularly macroeconomics) are both difficult, messy fields. [sent-6, score-0.473]

3 Films are collaborative efforts where individual contributions defy attribution and creative decisions often can’t be distinguished from accidents of filming. [sent-7, score-0.197]

4 Worse yet, most films are the product of large corporations which means that dozens of VPs and executives might have played a role (sometimes an appallingly large one) in determining what got to the screen. [sent-8, score-0.386]

5 Unlike researchers in the hard sciences, they have to deal with messiness of human behavior. [sent-10, score-0.074]

6 Unlike psychologists, microeconomists have few opportunities to perform randomized trials and macroeconomists have none whatsoever. [sent-11, score-0.221]

7 Finally, unlike any other researchers in any other field, economists face a massive problem with deliberate feedback. [sent-12, score-0.418]

8 Faced with all this confusion, film scholars and economists (at least, macroeconomists) both reached the same inevitable conclusion: they would have to rely on broader, stronger assumptions than those colleagues in adjacent fields were using. [sent-16, score-0.676]

9 This does not apply simply to auteurists and freshwater economists. [sent-17, score-0.432]

10 Anyone who does any work in these fields will have to start with some sweeping and unprovable statements about how the world works. [sent-18, score-0.143]

11 Auteurists and freshwater economists just took this idea to its logical conclusion and built their work on the simplest and most elegant assumptions possible . [sent-19, score-0.692]

12 Given that we have two similar responses to two similar situations, it is not all that surprising to see that both schools of thought have followed similar paths and have come to dominate their respective fields. [sent-22, score-0.311]

13 I don’t think that anyone would argue that any institution has had more impact on economics than the Chicago school over the past fifty years and I doubt you could find a theory of film that comes close to the impact of auteurism over the same period. [sent-23, score-0.926]

14 The dominance of auteurism and the Chicago School is, if anything, greater when you venture outside of academia. [sent-27, score-0.388]

15 The problem with auteurism is compounded by the fact that most reviewers have no idea what a director actually does. [sent-29, score-0.739]

16 This was certainly not true of the original French critics who popularized the theory (who were, themselves, directors) or of its primary American proponent, Andrew Sarris, (who went to great pains to discuss exactly and also set out the definitive list of the conditions I referred to). [sent-30, score-0.321]

17 Today most reviews will use the possessive form of the director’s name then proceed to discuss everything about the film but the direction. [sent-31, score-0.316]

18 The strange result of all this is that directors are both the most overrated and under-appreciated of movie makers. [sent-32, score-0.305]


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