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This purpose of this paper is to explain Macau’s successful pandemic response through an analysis of its social, political and economic landscapes. In particular, it focusses on the economic relief brought by casino capitalism in this era of COVID-19.

As mobility is highly restricted during the coronavirus pandemic, digital technologies have become central to ongoing social science research. Thanks to videoconferencing programmes such as Zoom, Facetime and WhatsApp, the author was able to carry out virtual interviews with 13 local people from different sectors of Macau in July 2020. In addition to in-depth interviews, the author also undertook an extensive review of the Macau government’s pandemic policies.

This paper argues that the Macau government’s swift and effective coronavirus policies are deeply intertwined with the urban fabric and political economy of the city’s casino capitalism, which endowed the government with surplus funds and an infrastructure that enabled the implementation of an array of strict measures that few other countries could afford to subsidise. Factors that have led to Macau’s extraordinarily low rates of COVID-19 infections and deaths include: competent leadership and the public’s high compliance with mandatory health measures; the generous benefits and financial support for citizens and businesses; and the compulsory quarantine required of all incoming travellers, who are lodged in hotel rooms left empty when casino tourists stopped coming. All of these measures have been made possible by a political economy backed by the peculiarities of casino capitalism and its resultant tax revenues.

Future research could compare the case of Macau with other small but affluent economies (ideally economies that do not depend on the gambling industry) to ascertain the role of casino capitalism in building up economic resilience.

Although previous studies tend to emphasise the negative impacts of casino capitalism, this paper shows how tax revenues and infrastructure from the gambling industry can make a contribution to the host society in times of crisis.

Jelinek has developed a multi-level model for conceptualizing the contextual influences through which intellectual property (IP) is “understood, interpreted and made sense of” by key parties to IP “deals.” This commentary reflects upon that model through a historical examination of industry–university relationships in one case – specifically, IBM. Since the late 1920s, IBM has encouraged multifaceted relationships with universities. From the start, IBM sought relationships with academia not only because of the market potential represented by university campuses, but also because Thomas Watson Sr. viewed academic customers as potential research collaborators, a novel idea at the time that later proved instrumental in the development of the corporation's successful research enterprise. IBM's university relationships have continued to evolve over time, reflecting shifts in the corporation's business strategy, and changes in larger macroeconomic structures. The case of IBM reveals complex interactions among governmental, corporate, and academic actors and their policies at different points in time, providing support for Jelinek's multi-level approach to framing IP dynamics, and suggesting possible refinements of the model for the future.

This paper aims to focus on a group of films that were made during a little‐known period of Hollywood filmmaking known as the “pre‐Code” era. It seeks to provide an overview, historical background, and a general discussion about censorship and the cinema.

This research examines key actors, directors, and films that exemplify the characteristics of “pre‐Code”. The criteria for inclusion set by this study take into account not only their subject matter, but their availability on home video.

This comprehensive bibliography includes information on some of the actors who appeared in these films as well as summaries of select films. Commercial web sites that distribute and sell pre‐Code films are also presented. Key actors, directors, films, and companies that were involved in the production of pre‐Code films are identified and discussed. General reference works about film are highlighted as well as web sites, blogs, and other online resources that provide reviews and detailed discussions of pre‐Code Hollywood films.

The article offers guidelines for building a pre‐Code video collection and discusses why its subject matter is of interest to academia, especially in regard to women's and ethnic studies courses.

The purpose of this paper is to explore the professional dilemmas of historians of education in the USA.

This paper uses historiographical analysis.

While some aspects of both “prophet” and “fool” cultural archetypes fit some historians of education, neither archetype is a useful model for discussing the possible professional positions and roles of new scholars. Instead, “border-crossing” is an appropriate metaphor for new scholars in the history of education.

This manuscript addresses a topic of concern to many historians of education in multiple countries. It moves beyond material concerns of intellectuals to discuss the cultural archetypes that may be at play.