Luc Leruth – författare

What could movies as diverse as The Last Samurai, Cléo from 5 to 7, or Dr. Strangelove have in common? Filmonomics has a simple yet intriguing answer: economics as the main driving force of the plot or as the main motivation of the characters’ actions.This book analyses how movie makers use economic and financial motives in their plots or to build their characters. Have they done it in line with economic theory? Or are they proposing a new angle, a new perspective, that economists should take note of? The authors here do not discuss wages in the film industry or the economics of movies. What interests them is the economic motivations underpinning the behaviour of fictional characters in their favourite films. They argue that credible movie characters can behave in irrational ways, and movie makers occasionally introduce new ideas that economists should take note of.A unique contribution, this book will be of interest to readers eager to discover what economists have to say about films and film directors. It will be indispensable for students and researchers of economics, media studies, film studies, and cultural studies.

Economics and fiction often pursue parallel objectives. Economists analyze human decisions and interactions in markets and other institutions. Fiction writers also provide keen insights into individual minds and motives, examining how their characters respond to conflict and tensions in varied situations. This book explores the insights to be gained from developing this parallel.In each chapter, economists discuss classic or contemporary literary creations, exploring economic incentives that motivate the characters, the economic mechanisms that tie them together, and/or the economic context in which they live and develop. Exploring the synergy across economics and literature offers new understandings of themes, including capitalism and colonialism, marriage and markets, gender norms, inheritance and estates, and the political economy of poverty. The broad and deep range of literary works includes writers from Shakespeare and Goethe, through Chekov and Steinbeck, to recent Nobelists Abdulrazak Gurnah and Han Kang. By offering new understandings of both economics and literature, readers will gain deeper insights into people’s thought processes, choices, and consequences.This book will captivate readers in economics, social sciences, and the humanities and open their minds to the viewing of economic ideas and concepts through the prism of great works of literature.

Economics and fiction often pursue parallel objectives. Economists analyze human decisions and interactions in markets and other institutions. Fiction writers also provide keen insights into individual minds and motives, examining how their characters respond to conflict and tensions in varied situations. This book explores the insights to be gained from developing this parallel.In each chapter, economists discuss classic or contemporary literary creations, exploring economic incentives that motivate the characters, the economic mechanisms that tie them together, and/or the economic context in which they live and develop. Exploring the synergy across economics and literature offers new understandings of themes, including capitalism and colonialism, marriage and markets, gender norms, inheritance and estates, and the political economy of poverty. The broad and deep range of literary works includes writers from Shakespeare and Goethe, through Chekov and Steinbeck, to recent Nobelists Abdulrazak Gurnah and Han Kang. By offering new understandings of both economics and literature, readers will gain deeper insights into people’s thought processes, choices, and consequences.This book will captivate readers in economics, social sciences, and the humanities and open their minds to the viewing of economic ideas and concepts through the prism of great works of literature.

What could movies as diverse as The Last Samurai, Cléo from 5 to 7, or Dr. Strangelove have in common? Filmonomics has a simple yet intriguing answer: economics as the main driving force of the plot or as the main motivation of the characters’ actions.This book analyses how movie makers use economic and financial motives in their plots or to build their characters. Have they done it in line with economic theory? Or are they proposing a new angle, a new perspective, that economists should take note of? The authors here do not discuss wages in the film industry or the economics of movies. What interests them is the economic motivations underpinning the behaviour of fictional characters in their favourite films. They argue that credible movie characters can behave in irrational ways, and movie makers occasionally introduce new ideas that economists should take note of.A unique contribution, this book will be of interest to readers eager to discover what economists have to say about films and film directors. It will be indispensable for students and researchers of economics, media studies, film studies, and cultural studies.