Why Do Soldiers Give Up? A Self-Preservation Theory of Surrender

Surrender, or capitulation to the adversary in combat, can have a significant impact on the duration, intensity, and outcomes of battles and wars. Yet the reasons why soldiers choose to capitulate are not well understood. This article advances a new theory of surrender that argues soldiers are most likely to surrender when they perceive proximate environmental signals leading them to expect humane treatment and a relatively short period of captivity and least likely to give up when those signals lead them to expect abusive treatment and lengthy imprisonment. The model is tested through a detailed examination of surrender rates in World War I and findings indicate that it explains more of the observed variation than do existing theories of capitulation. What little systematic data exists on surrenders during twentieth century interstate wars corroborates these findings. Implications for scholars and policymakers are briefly considered.     

Australian Cinema Studies: How the Subject Is Taught in Australian Universities

Since the mid-1970s, the subject Australian Cinema, and its various synonyms and neologisms, has been studied in humanities, social sciences and the arts in Australian higher education, and research in the field has played an important role in informing the critical approaches underpinning curriculum. Yet to date there is limited insight into the types of subjects offered, approaches to curriculum and syllabus, and their alignment with research. This article maps Australian cinema studies in higher education at an undergraduate level, and provides insight into common curriculum and syllabus models. Findings are drawn from an online survey of university course handbooks, content and thematic analysis of study guides and weekly syllabus, and correspondence with coordinators. Twenty-seven universities offered subjects with a dominant Australian cinema focus. Australian cinema studies is firmly embedded in national cinema curriculum, and three common curriculum models include the following: (1) a historical chronology of Australian cinema, (2) a text-dominant approach organised around the weekly study of a key film and (3) an approach predominately structured around Australian cinema discourses and critical theory. Despite the increasing importance of transnational approaches to Australian screen in research, transnationalism rarely functions as a dominant organising logic for curriculum in its own right.     

The Creative Industries Concept: Stakeholder Reflections on Its Relevance and Potential in Australia

The creative industries concept or term continues to attract attention in both developed and developing economies worldwide. However, it is not universally applied, with other terms such as cultural industries, arts and culture, copyright industries, or the experience economy used in various global locations. There is also ongoing debate and critique in relation to the creative industries concept, given that it emphasises employment and wealth creation and gathers together a range of disparate disciplines. This article explores these issues via interviews with twenty-two key leaders representing fifteen different industry organisations, advocacy groups, and government funding bodies in the Australian creative industries sector. The findings reveal only a moderate level of understanding and application of the creative industries concept, with a range of views on its relevance and utility for those working in the sector. In addition, the findings propose that there is significant potential and need for the sector to work towards a stronger advocacy position and profile within the broader economy. However, this represents a major challenge for the creative industries sector, given the existing vertical and horizontal power structures within this complex and diverse area of the economy.     

Testing the Reciprocal Effects of Campaign Participation

Questions persist regarding the robustness of cross-sectional estimates of effects of variables that are themselves endogenous to the participation process. On one hand, the consequences of working on a campaign have interesting implications for democratic society. Less benign, however, is the possibility that failure to control for reciprocal processes leads to biased estimates of the causes of campaign participation. I use a panel of Democratic and Republican contributors interviewed following each of the past three presidential elections (1996, 2000, and 2004) to explore the relationships between campaign participation and three variables typically parameterized as predictors of participation: receiving a contact, ideological extremism, and strength of party identification. The effect of strength of party identification on campaign participation proves robust; however, I find that nearly all of the associations between contacts and participation and ideological extremism and participation appear to extend from, not into, participation and past participation.