Gerben Bakker
Biographic Data
| ID | 1034657 |
|---|---|
| NAME | Gerben Bakker |
| GIVEN NAMES | Gerben |
| FAMILY NAME | Bakker |
| SIGNATURE | BAKKER G |
| AFFILIATIONS | London School of Economics and Political Science |
| ORCID | 0000-0001-6109-0693 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 47 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 4 |
The Sources of Growth in a Technologically Progressive Economy: The United States, 1899–1941
We develop new aggregate total factor productivity (TFP) growth estimates for the USA between 1899 and 1941, and sectoral estimates at the most disaggregated level so far, 38 industries. We include hard-to-measure services, and a refined measure of sectoral labour quality growth. The resulting data set supersedes Kendrick (1961), showing TFP growth lower than previously thought, broadly based across industries, and strongly variant intertemporall…
Assessment of Health-Related Quality of Life between People with Parkinson’s Disease and Non-Parkinson’s: Using Data Drawn from the ‘100 for Parkinson’s’ Smartphone-Based Prospective Study
Background : This study aims to assess the specific difference of the health-related quality of life between people with Parkinson's and non-Parkinson's. Methods : A total of 1710 people were drawn from a prospective study with a smartphone-based survey named '100 for Parkinson's' to assess health-related quality of life. The EQ-5D-5L descriptive system and the EQ visual analogue scale were used to measure health-related quality of life and a lin…
Chemical Landmark 2012 – Designation of Rosental – The Cradle of the Basel Chemical Industry and of the Novartis Company Archive: Scnat
Adopting the rights-based model: Music multinationals and local music industries since 1945
This article identifies four economic tendencies that shaped the development of the international recorded music industry since 1945: the importance of endogenous sunk costs led to a quality race; the fact that marginal revenue equalled marginal profit led to extreme vertical integration; the quasi-public good character of music its non-diminishability but partial excludability led to a sharply unequal income distribution among stars and the pion…
How Motion Pictures Industrialized Entertainment
Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled…
From Betamax to Blockbuster: Video stores and the invention of movies on video
From Betamax to Blockbuster: video stores and the invention of movies on video, by Joshua M. Greenberg, Cambridge, MA, MIT Press, 2008, 214 pp., illus., figs., £19.95 (hardback), ISBN 978-0-262-072
Creative urban milieus: Historical perspectives on culture, economy, and the city - Edited by Martina Heßler and Clemens Zimmermann
The Making of a Music Multinational: PolyGram's International Businesses, 1945–1998
In half a century PolyGram expanded from two small Dutch and German companies to become the world's largest music multinational. It did so in the midst of a fast-changing business environment, in which relatively homogenous products and tastes gave way to differentiated outputs for segmented markets. Making use of strengths inherited from its owners Philips and Siemens, PolyGram integrated a continuous series of foreign acquisitions into one inte…
The decline and fall of the European film industry: Sunk costs, market size, and market structure, 1890–1927 1
In the 1900s, the European film industry exported throughout the world, at times supplying half the US market. By 1920, however, European films had virtually disappeared from America, and had become marginal in Europe. Theory on sunk costs and market structure suggests that an escalation of sunk costs during a rapid US growth phase resulted in increased concentration; eight surviving companies dominated international film production and distribut…
Selling French Films on Foreign Markets: The International Strategy of a Medium-Sized Film Company
Foreign markets largely shaped the business strategy of Les Films Albatros, a medium-sized, internationally networked specialty producer of films in interwar France. Depending more on foreign revenues than did the Hollywood studios, Albatros also realized higher gross returns. Because films were capital goods providing a perishable product (seats at a specific time), their price depended on both expected performance and the threshold ticket-selli…
Quarter notes and bank notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries
Entertainment Industrialized: The Emergence of the International Film Industry, 1890–1940
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Building Knowledge about the Consumer: The Emergence of Market Research in the Motion Picture Industry
The way film companies obtained knowledge about the consumer resembled that of fashion industries. Initially, intermediaries analysed sales and observed customers while they consumed the service. As the film industry developed between the 1890s and the 1940s, however, its gathering of information increasingly began to resemble the market research of mass-distribution industries. Technological and contractual changes, as well as a rise in sunk cos…
Stars and Stories: How Films Became Branded Products
Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate mass…
The decline and fall of the European film industry: Sunk costs, market size, and market structure, 1890–1927 1
In the 1900s, the European film industry exported throughout the world, at times supplying half the US market. By 1920, however, European films had virtually disappeared from America, and had become marginal in Europe. Theory on sunk costs and market structure suggests that an escalation of sunk costs during a rapid US growth phase resulted in increased concentration; eight surviving companies dominated international film production and distribut…
The Sources of Growth in a Technologically Progressive Economy: The United States, 1899–1941
We develop new aggregate total factor productivity (TFP) growth estimates for the USA between 1899 and 1941, and sectoral estimates at the most disaggregated level so far, 38 industries. We include hard-to-measure services, and a refined measure of sectoral labour quality growth. The resulting data set supersedes Kendrick (1961), showing TFP growth lower than previously thought, broadly based across industries, and strongly variant intertemporall…
The Making of a Music Multinational: PolyGram's International Businesses, 1945–1998
In half a century PolyGram expanded from two small Dutch and German companies to become the world's largest music multinational. It did so in the midst of a fast-changing business environment, in which relatively homogenous products and tastes gave way to differentiated outputs for segmented markets. Making use of strengths inherited from its owners Philips and Siemens, PolyGram integrated a continuous series of foreign acquisitions into one inte…
Stars and Stories: How Films Became Branded Products
Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate mass…
Building Knowledge about the Consumer: The Emergence of Market Research in the Motion Picture Industry
The way film companies obtained knowledge about the consumer resembled that of fashion industries. Initially, intermediaries analysed sales and observed customers while they consumed the service. As the film industry developed between the 1890s and the 1940s, however, its gathering of information increasingly began to resemble the market research of mass-distribution industries. Technological and contractual changes, as well as a rise in sunk cos…
How Motion Pictures Industrialized Entertainment
Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled…
Selling French Films on Foreign Markets: The International Strategy of a Medium-Sized Film Company
Foreign markets largely shaped the business strategy of Les Films Albatros, a medium-sized, internationally networked specialty producer of films in interwar France. Depending more on foreign revenues than did the Hollywood studios, Albatros also realized higher gross returns. Because films were capital goods providing a perishable product (seats at a specific time), their price depended on both expected performance and the threshold ticket-selli…
Stars and Stories: How Films Became Branded Products
Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate mass…
Entertainment Industrialized: The Emergence of the International Film Industry, 1890–1940
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Building Knowledge about the Consumer: The Emergence of Market Research in the Motion Picture Industry
The way film companies obtained knowledge about the consumer resembled that of fashion industries. Initially, intermediaries analysed sales and observed customers while they consumed the service. As the film industry developed between the 1890s and the 1940s, however, its gathering of information increasingly began to resemble the market research of mass-distribution industries. Technological and contractual changes, as well as a rise in sunk cos…
Selling French Films on Foreign Markets: The International Strategy of a Medium-Sized Film Company
Foreign markets largely shaped the business strategy of Les Films Albatros, a medium-sized, internationally networked specialty producer of films in interwar France. Depending more on foreign revenues than did the Hollywood studios, Albatros also realized higher gross returns. Because films were capital goods providing a perishable product (seats at a specific time), their price depended on both expected performance and the threshold ticket-selli…
Quarter notes and bank notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries
The decline and fall of the European film industry: Sunk costs, market size, and market structure, 1890–1927 1
In the 1900s, the European film industry exported throughout the world, at times supplying half the US market. By 1920, however, European films had virtually disappeared from America, and had become marginal in Europe. Theory on sunk costs and market structure suggests that an escalation of sunk costs during a rapid US growth phase resulted in increased concentration; eight surviving companies dominated international film production and distribut…
The Making of a Music Multinational: PolyGram's International Businesses, 1945–1998
In half a century PolyGram expanded from two small Dutch and German companies to become the world's largest music multinational. It did so in the midst of a fast-changing business environment, in which relatively homogenous products and tastes gave way to differentiated outputs for segmented markets. Making use of strengths inherited from its owners Philips and Siemens, PolyGram integrated a continuous series of foreign acquisitions into one inte…
Creative urban milieus: Historical perspectives on culture, economy, and the city - Edited by Martina Heßler and Clemens Zimmermann
From Betamax to Blockbuster: Video stores and the invention of movies on video
From Betamax to Blockbuster: video stores and the invention of movies on video, by Joshua M. Greenberg, Cambridge, MA, MIT Press, 2008, 214 pp., illus., figs., £19.95 (hardback), ISBN 978-0-262-072
Adopting the rights-based model: Music multinationals and local music industries since 1945
This article identifies four economic tendencies that shaped the development of the international recorded music industry since 1945: the importance of endogenous sunk costs led to a quality race; the fact that marginal revenue equalled marginal profit led to extreme vertical integration; the quasi-public good character of music its non-diminishability but partial excludability led to a sharply unequal income distribution among stars and the pion…
How Motion Pictures Industrialized Entertainment
Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled…
Chemical Landmark 2012 – Designation of Rosental – The Cradle of the Basel Chemical Industry and of the Novartis Company Archive: Scnat
Assessment of Health-Related Quality of Life between People with Parkinson’s Disease and Non-Parkinson’s: Using Data Drawn from the ‘100 for Parkinson’s’ Smartphone-Based Prospective Study
Background : This study aims to assess the specific difference of the health-related quality of life between people with Parkinson's and non-Parkinson's. Methods : A total of 1710 people were drawn from a prospective study with a smartphone-based survey named '100 for Parkinson's' to assess health-related quality of life. The EQ-5D-5L descriptive system and the EQ visual analogue scale were used to measure health-related quality of life and a lin…
The Sources of Growth in a Technologically Progressive Economy: The United States, 1899–1941
We develop new aggregate total factor productivity (TFP) growth estimates for the USA between 1899 and 1941, and sectoral estimates at the most disaggregated level so far, 38 industries. We include hard-to-measure services, and a refined measure of sectoral labour quality growth. The resulting data set supersedes Kendrick (1961), showing TFP growth lower than previously thought, broadly based across industries, and strongly variant intertemporall…
Economics (10 works) · Art History and Market Analysis (8 works) · Business (7 works) · Cinema and Media Studies (6 works) · Art (5 works) · Cultural Industries and Urban Development (5 works) · Advertising (4 works) · Commerce (4 works) · Computer Science (4 works) · Film industry (4 works)