Professional Documents
Culture Documents
Download textbook International Political Economy Perspectives On Global Power And Wealth J Lawrence Broz ebook all chapter pdf
Download textbook International Political Economy Perspectives On Global Power And Wealth J Lawrence Broz ebook all chapter pdf
https://textbookfull.com/product/new-perspectives-on-political-
economy-and-its-history-maria-cristina-marcuzzo/
https://textbookfull.com/product/new-perspectives-on-the-history-
of-political-economy-1st-edition-robert-fredona/
https://textbookfull.com/product/emergence-entanglement-and-
political-economy-david-j-hebert/
https://textbookfull.com/product/political-economy-perspectives-
on-the-greek-crisis-debt-austerity-and-unemployment-1st-edition-
ioannis-bournakis/
Perspectives on International Relations Power
Institutions and Ideas Henry R. Nau
https://textbookfull.com/product/perspectives-on-international-
relations-power-institutions-and-ideas-henry-r-nau/
https://textbookfull.com/product/global-political-economy-
evolution-and-dynamics-5th-edition-robert-obrien/
https://textbookfull.com/product/people-money-and-power-in-the-
economic-crisis-perspectives-from-the-global-south-the-human-
economy-keith-hart-editor/
https://textbookfull.com/product/the-political-economy-of-
normative-trade-power-europe-arlo-poletti/
https://textbookfull.com/product/global-and-asian-perspectives-
on-international-migration-1st-edition-graziano-battistella-eds/
SIXTH EDITION
INTERNATIONAL
POLITICAL
ECONOMY
Perspectives on
Global Power and Wealth
Jeffry A. Frieden
HARVARD UNIVERSITY
David A. Lake
UNIVERSITY OF CALIFORNIA, SAN DIEGO
J. Lawrence Broz
UNIVERSITY OF CALIFORNIA, SAN DIEGO
W.W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y. 10110-0017
www.wwnorton.com
W.W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London WlT 3QT
1 2. 3 4 5 6 7 ,8 9 0
CONTENTS
Preface ix
About the Editors xi
Introduction 1
I CONTENDING
INTERNATIONAL
PERSPECTIVES
POLITICAL
ON
ECONOMY 18
1 Commerce and Coalitions: How Trade
Affects Domestic Political Alignments 20
RONALD ROGOWSKI
II HISTORICAL PERSPECTIVES 77
5 Free Trade: The Repeal of the Corn Laws 81
CHERYL SCHONHARDT-BAILEY
m FOREIGN
9 The Multinational
DIRECT INVESTMENT 140
Enterprise as an Economic Organization 144
RICHARD E. CAVES
V TRADE 282
18 The Political Economy of the Smoot-Hawley Tariff 286
BARRY EICHENGREEN
VI MIGRATION 357
23 Political Economy and Migration Policy 359
GARY P. FREEMAN AND ALAN K. KESSLER
CURRENT PROBLEMS IN
VIII INTERNATIONAL
ECONOMY 459
POLITI CAL
ix
x• Preface
JEFFRY A. FRIEDEN
DAVID A. LAKE
J. LAWRENCE BROZ
ABOUT THE EDITORS
xi
INTRODUCTION
1
2 • Introduction
behavior are little more than didactic devices whose accuracy depends on a
wide variety of unpredictable factors, including underlying economic trends.
If an economist would be foolish to dismiss the possibilities of intergovern-
mental producers' cartels (such as OPEC) out of· hand, a political scientist
would be equally foolish not to realize that the economic realities of modern
international commodity markets ensure that successful producers' cartels
will be few and far between.
It is thus no surprise that political economy is far from new. Indeed, until
a century ago, virtually all thinkers concerned with understanding human
society wrote about political economy. For individuals as diverse as Adam
Smith, John Stuart Mill, and Karl Marx, the economy was eminently political
and politics was obviously tied to economic phenomena. Few scholars before
1900 would have taken seriously any attempt to describe and analyze politics
and economics independently·of each other.
Around the turn of the last century, however, professional studies of eco-
nomics and politics became increasingly divorced from one another. Economic
investigation began to focus on understanding more fully the operation of spe-
cific markets and their interaction; the development of new mathematical
techniques permitted the formalization of, for example, laws of supply and
demand. By the time of World War I, an economics profession per se was in
existence, and its attention was focused on understanding the operation of eco-
nomic activities in and of themselves. At the same time, other scholars were
looking increasingly at the political realm in isolation from theeconomy. The
rise of modern representative political institutions, mass political parties,
more politically informed populations, and modern bureaucracies all seemed
to justify the study of politics as an activity that had a logic of its .own.
With the exception of a few isolated individuals and an upsurge of interest
during the politically and economically troubled Depression years, the twen-
tieth century saw an increasing separation of the study of economics from that
of politics. Economists developed ever more elaborate and sophisticated mod-
els of how economies work, and similarly, political scientists spun out ever
more complex theories of political development and activity.
The resurgence of political economy in the last half century has had two
interrelated sources. The first was dissatisfaction among academics with the
gap between abstract models of political and economic behavior, on the one
hand, and the actual behavior of polities and economies, on the other. Theory
had become more ethereal and seemed less realistic. Many scholars therefore
questioned the intellectual justifications for a strict analytic division between
politics and economics. Second, as the stability and prosperity of th~-first
twenty-five postwar years started to disintegrate in the early 1~,70s,economic
issues became politicized while political systems became increasingly preoc-
cupied with economic affairs. In August 1971, President Richard Nixon ended
the gold-dollar standard, which had formed the basis for postwar monetary
relations; two and a half years later, OPEC, a previousJy little-known group,
4 • Introduction
succeeded in substantially raising the price of oil. In 1974 and 1975, the indus-
trial nations of Western Europe, North America, and Japan fell into the first
worldwide economic recession sinee the 1930s; unemployment and inflation
were soon widespread realities and explosive political issues. In the world
arena, the underdeveloped countries-most of them recently independent-
burst onto center stage as the third world and demanded a fairer division of
global wealth and power. If, in the 1950s and 1960s, economic growth was
taken for granted and politics occupied itself with other matters, in the 1970s
and 1980s, economic stagnation fed political strife while political conflict exac-
erbated economic uncertainty. The politicization of international economics
has continued ever since, especially after the Great Recession in 2008 with new
demands for finaneial market reform, less economic inequality, and greater
trade protection.
For both intellectual and practical reasons, then, social scientists once again
began seeking to understand how politics and economics interact in modern
society. To be sure, today's political economists have not simply reproduced
the studies of earlier (and perhaps neglected) generations of scholars in the
discipline. The professionalization of both economics and political science led
to major advances in both fields, and scholars now understand both economic
and political phenomena far better than they did a generation or two ago. It is
on this improved basis that the new political economy has been constructed,
albeit with some long-standing issues in mind.
Just as in the real world, where politicians pay close attention to economic
trends and economic actors keep track of political tendencies, those who would
understand the political process must take the economy into account, and vice
versa. A much richer picture of social processes emerges from an integrated
understanding of both political and-economic affairs than from the isolated
study of politics and economics as separate realms. This much is, by now,
hardly controversial; it is in application that disagreements arise. Government
actions may influence economic trends, but these actions themselves may sim-
ply reflect the pressures of economic interest groups. Economic interest
groups may be central in determining government policy, yet political
institutions-democratic or totalitarian, two-party or multiparty, parliamen-
tary or presidential-may crucially color the outlook and influence of eco-
nomic interests. Although they may emphasize different forces, international
political economists have moved toward a common framework for under-
standing the interaction of politics and economics.
• Interests are actors' goals, usually defined in terms of the outcomes they
hope to obtain through political action. Businesses generally have an
interest in maximizing profits, just as workers have an interest in maxi-
mizing wages; environmental activists typically have interests in protect-
ing the atmosphere, the oceans, or endangered species; states may have
interests in protecting citizens, expanding national wealth, or acquiring
new territory.
• Interactions are the ways in which the choices of two or more actors com-
bine to produce political outcomes. The outcomes we observe-trade
disputes, financial stabilization, or international cooperation to protect
the environment-reflect the choices of many actors, each looking out
for its own interest, but also taking into account the interests and likely
actions of others. All forms of international cooperation, for instance,
require multiple states to coordinate their policy choices toward a com-
mon goal.
• Institutions are sets of rules, known and shared by the relevant commu-
nity, that structure political interactions. Institutions define the "rules of
the game," often embodied in constitutions, statutes, treaties, and global
forums like the World Trade Organization. Institutions create procedures
for making joint decisions, such as voting rules; they also lay out standards
of acceptable behavior and often include provisions for monitoring com-
pliance and punishing those that violate the rules.
There are many different types of actors in the international political econ-
omy. Individuals have interests as consumers, workers, shareholders, and in
other roles. Many actors are collectives, such as firms, unions, business asso-
ciations, and even states. Which actor an analyst focuses on is determined by
the problem under investigation and the theory relevant to understanding that
problem. For some questions, like trade policy preferences, we might start with
individuals and their dual roles as consumers and producers working in a par-
ticular economic sector. For other questions, such as international financial
negotiations, it might make sense to distinguish between creditor and debtor
nations. There is no right or wrong way to specify the actors in any set of
events. We judge different assumptions about who the relevant actors are by
whether they are useful in helping us understand outcomes.
Having identified the relevant actors, the first task is to determine the actor's
interest. Interests can be many and varied, depending on the specific policy
6 • Introduction
might aim to negotiate only a smaller regional agreement or free ride on the
efforts of others entirely.
Institutions play a major role in the international political economy, both
domestically and internationally. Institutions are sets of rules that often deter-
mine how interactions play out and, thus, the choices actors make. The U.S.
Constitution gives the right to set tariffs to Congress, which tends to be more
responsive to local industries and their interests than the Senate or the presi-
dent. The result is that for much of its history, Congress has created large "log-
rolls" that have produced high tariffs that protected nearly all industries in
the United States. In the midst of the Great Depression of the 1930s, however,
Congress delegated authority to the president to negotiate bilateral trade agree-
ments in an effort to expand U.S. exports (see Bailey, Goldstein, and Wein-
gast, Reading 8). The president could now offer to reduce tariffs on foreign
products imported into the United States in exchange for reductions in tariffs
on U.S. goods exported to other countries. This institutional change funda-
mentally altered the politics of trade protection by pitting exporters who
desired access to foreign markets against importers who wanted to protect the
domestic market. Over time, as a consequence of this institutional change, tar-
iffs were greatly reduced in the United States and in countries that were its
trading partners. The reciprocal reduction in tariffs, in turn, was later codi-
fied in the international institutions of the General Agreement on Tariffs and
Trade (GATT) and eventually in the World Trade Organization (WTO).
However, institutions themselves are the product of political struggle. Pre-
cisely because they matter for how actors choose to interact, and the outcomes
that result, actors will seek to negotiate the rules of politics in ways that favor
their interests. In the example of U.S. trade policy, Congress delegated author-
ity to the president to negotiate international agreeme11ts only under pressure
from exporters who understood that such an institutional change would be to
their benefit. Thus, institutions are often part of the political "game" itself, con-
ditioned by even deeper rules about how institutions are themselves changed.
These concepts of interests, interactions, and institutions suggest a model
of the politics of international economy policy that begins with individuals,
firms, sectors, or factors of production as the units of analysis and derives their
interests over economic policy from each unit's position within the interna-
tional economy. This approach, sometimes referred to as "Open Economy Poli-
tics," conceives of domestic political institutions as mechanisms that
aggregate interests (with more or less bias) and structure the bargaining of
competing societal groups. Finally, it introduces, when necessary, strategic
bargaining between states with different interests. Analysis within the
approach can proceed from the micro to the macro level in a linear and orderly
fashion, reflecting an implicit unidirectional conception of politics as flowing
up from individuals to interstate bargaining. The overall image, though, is one
of groups within countries struggling within domestic political institutions
over policies that will favor their interests, and then states-representing those
8 • Introduction
The Liberal argument emphasizes how both the market and politics are
environments in which all parties can benefit by entering into voluntary
exchanges with others. If there are no impediments to trade among individu-
als, Liberals reason, everyone can be made as well-off as possible, given the
existing stocks of goods and services. All participants in the market, in other
words, will be at their highest possible level of utility. Neoclassical economists,
who are generally Liberals, believe firmly in the superiority of the market-as
both a set of interactions and an institution-as a mechanism for allocating
scarce resources. Liberals therefore reason that the economic role of govern-
ment should be quite limited. Many forms of government intervention in the
economy, they argue, intentionally or unintentionally restrict the market and
thereby prevent potentially rewarding trades from occurring.
Liberals do generally support the provision by government of certain "pub-
lic goods"-goods and services that benefit society and that would not be pro-
vided by private markets. 1 The government, for example, plays an important
role in supplying the conditions necessary for the maintenance of a free and
competitive market. Governments must provide for the defense uf the coun-
try, protect property rights, and prevent any unfair collusion or concentration
of power within the market. The government should also, according to most
Liberals, educate its citizens, build infrastructure, and provide and regulate a
common currency. The proper role of government, in other words, is to provide
the necessary foundation for the market.
At the level of the international economy, Liberals assert that a fundamen-
tal harmony of interests exists between, as well as within, countries. Focus-
ing mostly on interests defined in terms of material consumption, they argue
that all countries are best off when goods and services move freely across
national borders in mutually rewarding exchanges. If universal free trade were
to exist, all countries would enjoy the highest level of utility and there would
be no economic basis for international conflict or war. Liberals also believe
that governments should manage the international economy in much the same
way as they manage their domestic economies. They should establish institu-
tions, often referred to as "international regimes," to govern exchanges between
different national currencies and to ensure that no country or domestic group
is damaged by "unfair" international competition.
Marxism originated with the writings of Karl Marx, a nineteenth-century
political economist and perhaps the severest critic of capitalism and its Lib-
eral supporters. Marx saw capitalism and the market as creating extremes of
wealth for capitalists and poverty for workers. While the entire populace may
have been better-off than before, the capitalists were clearly expanding their
wealth more rapidly than everyone else. Marx rejected the assertion that
exchange between individuals necessarily maximizes the welfare of the whole
society. Accordingly, he perceived capitalism as an inherently conflictual sys-
tem that both should, and will, be inevitably overthrown and replaced by
socialism.
10 • Introduction
Marxists believe that classes are the dominant actors in the political economy.
Specifically, they identify as central two economically determined aggregations
of individuals or classes: capital, or the owners of the means ot production, and
labor, or the workers. Marxists assume that classes act in their economic
interests-that is, to maximize the economic well-being of the class as a whole.
Accordingly, the basis of the capitalist economy is the exploitation of labor by
capital: capitalism, by its very nature, denies labor the full return for its efforts.
Marxists see the political economy as necessarily conflictual, since the rela-
tionship between capitalists and workers is essentially antagonistic. Because
the means of production are controlled by a minority within society-the
capitalists-labor does not receive its full return; conflict between the classes
is inevitably caused by this exploitation. Marxists also believe that capitalism
is inherently prone to periodic economic crises, which will, they believe,
ultimately lead. to the overthrow of capitalism by labor and the erection of a
socialist society in which the means of production will be owned jointly by all
members of society and exploitation will cease.
V. I. Lenin, the Russian revolutionary who founded the Soviet Union,
extended Marx's ideas to the international political economy to explain impe-
rialism and war. Imperialism, Lenin argued, was endemic to modern capital-
ism. As capitalism de,cayed in the most developed nations, capitalists would
attempt to solve their problems by exporting capital abroad. As this capital
required protection from both local and foreign challengers, governments
would colonize regions to safeguard the interests of their foreign investors.
Eventually, capitalist countries would compete for control over these areas and
intracapitalist wars would follow.
Today, Marxists who study the international political economy are primar-
ily concerned with two issues. The first is the fate of labor in a world of increas-
ingly internationalized capital. The growth of multinational corporations
and the rise of globally integrated financial markets appear to have weakened
labor's economic and political power. If workers in a particular country demand
higher wages or improved health and safety measures, for example, the mul-
tinational capitalist can simply shift production to another country where
labor is more compliant. As a result, many Marxists fear that labor's ability to
negotiate with capital for a more equitable division of wealth has been sig-
nificantly undermined.
Second, Marxists are concerned with the poverty and continued under-
development of the third world. Some Marxists argue that development is blocked
by domestic ruling classes, which pursue their own narrow interests at the
expense of national economic progress. Others, known as "dependency" theo-
rists, extend class analysis to the level of the international economy. According
to these Marxists, the global system is stratified into a wealthy area (the "core,"
or first world) and a region of oppression and poverty (the "periphery," or third
world). International capitalism, in this view, exploits the periphery and ben-
efits the core, just as capitalists exploit workers within a single country. The
Introduction • 11
ations. However, the lines between these views are easily blurred. Some
Marxists agree with the Realist focus on interstate conflict, while others con-
cur with the Liberal emphasis on economic interests, while still others agree
with Constructivists on the role of norms, Likewise, there are many Liberals
who use neoclassical tools to analyze interstate strategic interaction in much
the same way Realists do or to investigate the clash of classes as do the Marx-
ists. Nearly all Liberals, Marxists, and Realists have come to a deeper under-
standing of the role of norms, emphasized by Constructivists. Such substantial
overlap, in our view, suggests that instead .of adhering to a particular para-
digm, scholars instead should think seriously about the interests, interactions,
and institutions that motivate actors, influence their choices, and determine
the outcomes we observe within the international political economy.
and Central Europe joined the European Union, the resurgence of an inte-
grated global economy seemed complete.
Since the mid-1990s, the world economy has continued on the general path
of globalization. All of the indicators of integration have trended upward-
some of them, such as international financial flows, at a very rapid pace. Yet,
concern has grown about globalization in many quarters, and the generalized
enthusiasm of the early 1990s is now waning.
The principal issue facing analysts of the international political economy
today has to do with the future of this era of globalization. Despite continued
conflict over the international economy, most people-especially in the indus-
trialized nations-appear to accept that an international system in which
goods and capital can move quite freely among countries has become the nor-
mal state of affairs and is likely to continue for the foreseeable future. None-
theless, there is widespread unease about the current state of international
economic relations. Activists worry that footloose corporations may undermine
attempts to protect the environment, labor, and human rights. Beleaguered
businesses are troubled by foreign competitors. Nationalists and religious tradi-
tionalists fear that globalization will undermine cultural and other norms.
With growing economic inequality, low-skilled workers in the developed
countries are turning increasingly against trade and immigration-feeding
nationalist parties across Europe and North America.
All of these apprehensions were heightened by the global economic crisis
that began at the end of 2007. Difficulties in the American financial system
were quickly transmitted around the world, and within months the entire
international economy was in recession. There were even fears that the reces-
sion might deepen into depression. The economic downturn raised the spec-
ter of economic conflicts among the world's major powers, as each nation
focused its efforts on defending itself and its citizens from the fallout of the
economic collapse. National governments and international economic insti-
tutions were confronted with problems of unprecedented breadth and scope.
In this uncertain and rapidly changing environment, the United States remains
the most important country within the international i;iolitical economy, but it
is no longer dominant. The era of American hegemony has been replaced by a
new, multilateral order based on the joint leadership of Western Europe, Japan,
and the United States. So far, these countries have successfully managed-or,
some would say, muddled through-the "oil shocks" of the 1970s, the debt cri-
sis of the early 1980s, the transition to the market of the. former centrally
planned economies after 1989, the currency crises and other financiaLvolatil-
ity of the 1990s, and the Great Financial Crisis of 2007-2009.
Despite greater success than many thought possible, multilateral leadership
and the liberal international order remain fragile. Conflicts of interest and eco-
nomic tensions remain muted, but they could erupt at any time. The politics
of international economic relations are made more complex by the new involve-
ment of such countries: as China, India, and Russia. These nations played
Introduction • 17
virtually no role in international economic affairs for fifty years after World
War II, but they are now actors to be reckoned with on the world economic
scene-especially China, now the world's second-largest economy and an
export powerhouse. It is unclear whether, and how, the developed nations will
work together with these newly resurgent developing countries in confront-
ing the economic and political problems of the twenty-first century.
NOTE
1. More specifically, a public good is one that, in its purest form, is nonrival in con-
sumption and nonexcludable. The first characteristic means that consumption of the
good by one person does not reduce the opportunities for others to consume that good;
for example, clean air can be breathed by one individual without reducing its availabil-
ity to others. The second characteristic means that nobody can be prevented from
consuming the good: those who do not contribute to pollution control are still able to
breathe clean air. These two conditions are fully met only rarely, but goods whose char-
acteristics come close to meeting them are generally considered public goods.
I
CO'NTEN DI NG
PERSPECTIVES ON
INTERNATIONAL
POLITICAL ECONOMY
18
Contending Perspectives on International Political Economy• 19
and twentieth centuries and finds that openness hinges on both the interests
and the interactions of the most powerful states in the system. Christina L. Davis
(Reading 4) focuses on the institutional context of international trade negotia-
tions to show that the rules of the game can determine whether trade nego-
tiations succeed or fail. As exemplars of their respective approaches, these
selections are intended only to illustrate basic themes and arguments; all
three approaches contain a rich diversity of styles and conclusions, and these
readings are only a sample. Nonetheless, they serve to highlight key analytic
debates and provide a useful empirical introduction to critical trends and cases
in international political economy.
1
Commerce and Coalitions: How Trade Affects
Domestic Political Alignments
RONALD ROGOWSKI
20
Another random document with
no related content on Scribd:
LP43414.
Keeping tabs. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 11Mar73; LP43414.
LP43415.
Anatomy of a 415. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 4Mar73; LP43415.
LP43416.
Easy rap. A production of Mark 7, Ltd. Produced in association
with Universal Studios. 26 min., sd., color, 16 mm. (Adam 12) ©
Adam 12 Productions; 18Mar73; LP43416.
LP43417.
A Fool and his money. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 25Feb73; LP43417.
LP43418.
A More exciting case. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 2Jan73 (in notice:
1972); LP43418.
LP43419.
A Necessary end. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 9Jan73 (in notice:
1972); LP43419.
LP43420.
Gemini descending. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 23Jan73 (in notice:
1972); LP43420.
LP43421.
The Problem with Charlie. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 30Jan73 (in
notice: 1972); LP43421.
LP43422.
The Working heart. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 13Feb73 (in notice:
1972); LP43422.
LP43423.
The Other Martin Loring. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 20Feb73;
LP43423.
LP43424.
Love me in December. A Harbour UTV production. 53 min., sd.,
color, 16 mm. (Ironside) © Harbour UTV; 9Jan73; LP43424.
LP43425.
The Ghost of the dancing doll. A Harbour UTV production. 53
min., sd., color, 16 mm. (Ironside) © Harbour UTV; 12Feb73;
LP43425.
LP43426.
All about Andrea. A Harbour UTV production. 53 min., sd., color,
16 mm. (Ironside) © Harbour UTV; 22Feb73; LP43426.
LP43427.
Another shell game. A Harbour UTV production. 53 min., sd.,
color, 16 mm. (Ironside) © Harbour UTV; 1Mar73; LP43427.
LP43428.
All honorable men. A Harbour UTV production. 53 min., sd., color,
16 mm. (Ironside) © Harbour UTV; 5Mar73; LP43428.
LP43429.
The Best laid plans. A Harbour UTV production. 53 min., sd.,
color, 16 mm. (Ironside) © Harbour UTV; 12Mar73; LP43429.
LP43430.
A Game of showdown. A Harbour UTV production. 53 min., sd.,
color, 16 mm. (Ironside) © Harbour UTV; 19Mar73; LP43430.
LP43431.
The Savage sentry. A Harbour UTV production. 53 min., sd., color,
16 mm. (Ironside) © Harbour UTV; 18Sep72; LP43431.
LP43432.
Programmed for panic. A Harbour UTV production. 53 min., sd.,
color, 16 mm. (Ironside) © Harbour UTV; 25Sep72; LP43432.
LP43433.
Down two roads. A Harbour UTV production. 53 min., sd., color,
16 mm. (Ironside) © Harbour UTV; 9Oct72; LP43433.
LP43434.
The Countdown. A Harbour UTV production. 53 min., sd., color,
16 mm. (Ironside) © Harbour UTV; 16Oct72; LP43434.
LP43435.
Camera, action, murder! A Harbour UTV production. 53 min., sd.,
color, 16 mm. (Ironside) © Harbour UTV; 23Oct72; LP43435.
LP43436.
Riddle me death. A Harbour UTV production. 53 min., sd., color,
16 mm. (Ironside) © Harbour UTV; 2Nov72; LP43436.
LP43437.
Nightmare trip. A Harbour UTV production. 53 min., sd., color, 16
mm. (Ironside) © Harbour UTV; 9Nov72; LP43437.
LP43438.
The Deadly gamesmen. A Harbour UTV production. 53 min., sd.,
color, 16 mm. (Ironside) © Harbour UTV; 27Nov72; LP43438.
LP43439.
Who’ll cry for my baby? A Harbour UTV production. 53 min., sd.,
color, 16 mm. (Ironside) © Harbour UTV; 4Dec72; LP43439.
LP43440.
Cold, hard cash. A Harbour UTV production. 53 min., sd., color, 16
mm. (Ironside) © Harbour UTV; 11Dec72; LP43440.
LP43441.
Shadow soldiers. A Harbour UTV production. 53 min., sd., color,
16 mm. (Ironside) © Harbour UTV; 18Dec72; LP43441.
LP43442.
Gifts and long letters. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 17Dec72; LP43442.
LP43443.
Vendetta. A production of Mark 7, Ltd. Produced in association
with Universal Studios. 26 min., sd., color, 16 mm. (Adam 12) ©
Adam 12 Productions; 15Oct72; LP43443.
LP43444.
Dirt duel. A production of Mark 7, Ltd. Produced in association
with Universal Studios. 26 min., sd., color, 16 mm. (Adam 12) ©
Adam 12 Productions; 9Sep72; LP43444.
LP43445.
Badge heavy. A production of Mark 7, Ltd. Produced in association
with Universal Studios. 26 min., sd., color, 16 mm. (Adam 12) ©
Adam 12 Productions; 23Oct72; LP43445.
LP43446.
Harry nobody. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 5Nov72; LP43446.
LP43447.
Training wheels. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 8Oct72; LP43447.
LP43448.
O’Brien’s stand. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 29Oct72; LP43448.
LP43449.
Lost and found. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 1Oct72; LP43449.
LP43450.
The Late baby. A production of Mark 7, Ltd. Produced in
association with Universal Studios. 26 min., sd., color, 16 mm.
(Adam 12) © Adam 12 Productions; 16Sep72; LP43450.
LP43451.
Airdrop. A production of Mark 7, Ltd. Produced in association with
Universal Studios. 26 min., sd., color, 16 mm. (Adam 12) © Adam 12
Productions; 24Sep72; LP43451.
LP43452.
The Chaser. A production of Mark 7, Ltd. Produced in association
with Universal Studios. 26 min., sd., color, 16 mm. (Adam 12) ©
Adam 12 Productions; 3Dec72; LP43452.
LP43453.
The Surprise. A production of Mark 7, Ltd. Produced in association
with Universal Studios. 26 min., sd., color, 16 mm. (Adam 12) ©
Adam 12 Productions; 12Nov72; LP43453.
LP43454.
Hot spell. A production of Mark 7, Ltd. Produced in association
with Universal Studios. 26 min., sd., color, 16 mm. (Adam 12) ©
Adam 12 Productions; 11Dec72; LP43454.
LP43455.
A Fragile possession. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 12Sep72; LP43455.
LP43456.
Love is when they say they need you. Produced with cooperation of
the American Academy of Family Physicians. 53 min., sd., color, 16
mm. (Marcus Welby, M. D.) © Universal City Studios, Inc.; 19Sep72;
LP43456.
LP43457.
We’ll walk out of here together. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 26Sep72;
LP43457.
LP43458.
In sickness and in health. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 3Oct72;
LP43458.
LP43459.
House of mirrors. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 10Oct72; LP43459.
LP43460.
He could sell iceboxes to Eskimos. Produced with cooperation of
the American Academy of Family Physicians. 53 min., sd., color, 16
mm. (Marcus Welby, M. D.) © Universal City Studios, Inc.; 17Oct72;
LP43460.
LP43461.
The Wednesday game. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 24Oct72; LP43461.
LP43462.
Don and Denise. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 31Oct72; LP43462.
LP43463.
Please don’t send flowers. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 14Nov72;
LP43463.
LP43464.
With a shout, not a whimper. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 21Nov72;
LP43464.
LP43465.
Jason be nimble, Jason be quick. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 28Nov72;
LP43465.
LP43466.
Unto the next generation. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 5Dec72;
LP43466.
LP43467.
Heartbeat for yesterday. Produced with cooperation of the
American Academy of Family Physicians. 53 min., sd., color, 16 mm.
(Marcus Welby, M. D.) © Universal City Studios, Inc.; 12Dec72;
LP43467.
LP43468.
Dinner of herbs. Produced with cooperation of the American
Academy of Family Physicians. 53 min., sd., color, 16 mm. (Marcus
Welby, M. D.) © Universal City Studios, Inc.; 19Dec72; LP43468.
LP43469.
English logic static control program. 690 min., sd., color,
videotape (3/4 inch) © Ford Motor Company; 6Jun73; LP43469.
LP43470.
Big Jake. 109 min., sd., color, 35 mm., Panavision. © Batjac
Productions, Inc.; 24May71; LP43470.
LP43471.
Question of guilt. An Alfra production. Produced in association
with MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) ©
Metro Goldwyn Mayer, Inc.; 3Jan73; LP43471.
LP43472.
The Judgement. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 10Jan73; LP43472.
LP43473.
End of the line; formerly Brush with death. An Alfra production.
Produced in association with MGM-TV. 60 min., sd., color, 16 mm.
(Medical Center) © Metro Goldwyn Mayer, Inc.; 17Jan73; LP43473.
LP43474.
Between two fires. An Alfra production. Produced in association
with MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) ©
Metro Goldwyn Mayer, Inc.; 24Jan73; LP43474.
LP43475.
Night cry. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 31Jan73; LP43475.
LP43476.
No margin for error. An Alfra production. Produced in association
with MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) ©
Metro Goldwyn Mayer, Inc.; 7Feb73; LP43476.
LP43477.
Impact. An Alfra production. Produced in association with MGM-
TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro Goldwyn
Mayer, Inc.; 14Feb73; LP43477.
LP43478.
Fatal memory. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 21Feb73; LP43478.
LP43479.
The Vortex. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 28Feb73; LP43479.
LP43480.
Vision of doom. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 13Sep72; LP43480.
LP43481.
Cycle of peril. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 20Sep72; LP43481.
LP43482.
Condemned. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 27Sep72; LP43482.
LP43483.
The Torn man. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 11Oct72; LP43483.
LP43484.
A Wall of silence. An Alfra production. Produced in association
with MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) ©
Metro Goldwyn Mayer, Inc.; 4Oct72; LP43484.
LP43485.
The Betrayed. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 18Oct72; LP43485.
LP43486.
Doctor and Mister Harper. An Alfra production. Produced in
association with MGM-TV. 60 min., sd., color, 16 mm. (Medical
Center) © Metro Goldwyn Mayer, Inc.; 25Oct72; LP43486.
LP43487.
The Fallen. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 1Nov72; LP43487.
LP43488.
Tio Taco, M. D. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 8Nov72; LP43488.
LP43489.
The Outcast. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 15Nov72; LP43489.
LP43490.
No sanctuary. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 22Nov72; LP43490.
LP43491.
The Gladiator. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 29Nov72; LP43491.
LP43492.
No way out. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 6Dec72; LP43492.
LP43493.
A Game for one player. An Alfra production. Produced in
association with MGM-TV. 60 min., sd., color, 16 mm. (Medical
Center) © Metro Goldwyn Mayer, Inc.; 13Dec72; LP43493.
LP43494.
Pressure point. An Alfra production. Produced in association with
MGM-TV. 60 min., sd., color, 16 mm. (Medical Center) © Metro
Goldwyn Mayer, Inc.; 20Dec72; LP43494.
LP43495.
As the tumbleweed turns. 7 min., sd., color, 35 mm. (Hoot Kloot)
© United Artists Corporation; 8Apr74 (in notice: 1973); LP43495.
LP43496.
Hunt for a lonely girl. Universal Studios. 80 min., sd., color, 16
mm. (Cool million) (NBC Wednesday mystery movie) © Universal
City Studios, Inc.; 25Oct72; LP43496.
LP43497.
Assault on Gavaloni. Universal Studios. 80 mm., sd., color, 16 mm.
(Cool million) (NBC Wednesday mystery movie) © Universal City
Studios, Inc.; 22Nov72; LP43497.
LP43498.
The Abduction of Bayard Barnes. Universal Studios. 80 min., sd.,
color, 16 mm. (Cool million) (NBC Wednesday mystery movie) ©
Universal City Studios, Inc.; 6Dec72; LP43498.
LP43499.
The Million dollar misunderstanding. Universal Studios. 80 min.,
sd., color, 16 mm. (Cool million) (NBC Wednesday mystery movie) ©
Universal City Studios, Inc.; 20Dec72; LP43499.
LP43500.
Milton Berle is the life of the party. Lucille Ball Productions, Inc.
27 min., sd., color, 16 mm. (Here’s Lucy) © Lucille Ball Productions,
Inc.; 11Feb74 (in notice: 1973); LP43500.
LP43501.
Mary Jane’s boyfriend. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.;
18Feb74 (in notice: 1973); LP43501.
LP43502.
Lucy Carter meets Lucille Ball. Lucille Ball Productions, Inc. 27
min., sd., color, 16 mm. (Here’s Lucy) © Lucille Ball Productions,
Inc.; 4Mar74 (in notice: 1973); LP43502.
LP43503.
Lucy the sheriff. Lucille Ball Productions, Inc. 27 min., sd., color,
16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.; 28Jan74 (in
notice: 1973); LP43503.
LP43504.
Lucy is a birdsitter. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.; 7Jan74
(in notice: 1975); LP43504.
LP43505.
Meanwhile back at the office. Lucille Ball Productions, Inc. 27
min., sd., color, 16 mm. (Here’s Lucy) © Lucille Ball Productions,
Inc.; 14Jan74 (in notice: 1973); LP43505.
LP43506.
Lucy is N. G. as R. N. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.;
21Jan74 (in notice: 1973); LP43506.
LP43507.
Lucy and Phil Harris strike up the band. Lucille Ball Productions,
Inc. 27 min., sd., color, 16 mm. (Here’s Lucy) © Lucille Ball
Productions, Inc.; 25Feb74; LP43507.
LP43508.
Lucy fights the system. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.;
18Mar74; LP43508.
LP43509.
Where is my wandering mother tonight? Lucille Ball Productions,
Inc. 27 min., sd., color, 16 mm. (Here’s Lucy) © Lucille Ball
Productions, Inc.; 11Mar74; LP43509.
LP43510.
Lucy and Danny Thomas. Lucille Ball Productions, Inc. 27 min.,
sd., color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.;
10Sep73; LP43510.
LP43511.
Lucy plays cops and robbers. Lucille Ball Productions, Inc. 27
min., sd., color, 16 mm. (Here’s Lucy) © Lucille Ball Productions,
Inc.; 26Nov73; LP43511.
LP43512.
Lucy the peacemaker. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.;
24Sep73; LP43512.
LP43513.
The Big game. Lucille Ball Productions, Inc. 27 min., sd., color, 16
mm. (Here’s Lucy) © Lucille Ball Productions, Inc.; 17Sep73;
LP43513.
LP43514.
Lucy the wealthy widow. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.; 1Oct73;
LP43514.
LP43515.
The Bow Wow Boutique. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.; 8Oct73;
LP43515.
LP43516.
Lucy’s tenant. Lucille Ball Productions, Inc. 27 min., sd., color, 16
mm. (Here’s Lucy) © Lucille Ball Productions, Inc.; 22Oct73;
LP43516.
LP43517.
Lucy gives Eddie Albert the old song and dance. Lucille Ball
Productions, Inc. 27 min., sd., color, 16 mm. (Here’s Lucy) © Lucille
Ball Productions, Inc.; 15Oct73; LP43517.
LP43518.
Lucy and Andy Griffith. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.;
29Oct73; LP43518.
LP43519.
Lucy and Joan Rivers do jury duty. Lucille Ball Productions, Inc.
27 min., sd., color, 16 mm. (Here’s Lucy) © Lucille Ball Productions,
Inc.; 5Nov73; LP43519.
LP43520.
Tipsy through the tulips. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.;
12Nov73; LP43520.
LP43521.
The Carters meet Frankie Avalon. Lucille Ball Productions, Inc. 27
min., sd., color, 16 mm. (Here’s Lucy) © Lucille Ball Productions,
Inc.; 19Nov73; LP43521.
LP43522.
Harry catches goldfever. Lucille Ball Productions, Inc. 27 min., sd.,
color, 16 mm. (Here’s Lucy) © Lucille Ball Productions, Inc.;
3Dec73; LP43522.
LP43523.
Lucy and Chuck Connors have a surprise slumber party. Lucille
Ball Productions, Inc. 27 min., sd., color, 16 mm. (Here’s Lucy) ©
Lucille Ball Productions, Inc.; 17Dec73; LP43523.
LP43524.
Conscience. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 14Sep72;
LP43524.
LP43525.
Ben Franklin. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 5Sep72;
LP43525.
LP43526.
Automobiles. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 30Oct72;
LP43526.
LP43527.
Lions. 30 min., sd., color, 16 mm, (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 22Sep72;
LP43527.
LP43528.
Cats. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions 24Oct72;
LP43528.
LP43529.
Homes. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 7Sep72;
LP43529.
LP43530.
Penguins. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 29Sep72;
LP43530.
LP43531.
Knights of old. 30 min., sd., color, 16 mm. (The Mouse factory)
NM: additions & compilation. © Walt Disney Productions; 22Sep72;
LP43531.
LP43532.
Mice. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 16Oct72;
LP43532.
LP43533.
Elephants. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 13Oct72;
LP43533.
LP43534.
The Wheel. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 7Sep72;
LP43534.
LP43535.
Winter fun. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 6Oct72;
LP43535.
LP43536.
Pluto. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 29Sep72;
LP43536.
LP43537.
Trains. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 14Sep72;
LP43537.
LP43538.
Dancing. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 30Oct72;
LP43538.
LP43539.
Tugboats. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 24Oct72;
LP43539.
LP43540.
Noah’s ark. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 22Sep72;
LP43540.
LP43541.
Bullfighting. 30 min., sd., color, 16 mm. (The Mouse factory) NM:
additions & compilation. © Walt Disney Productions; 14Sep72;
LP43541.
LP43542.
Mickey and the beanstalk. 30 min., sd., color, 16 mm. (The Mouse
factory) NM: additions & compilation. © Walt Disney Productions;
24Oct72; LP43542.
LP43543.
Reluctant dragon. 30 min., sd., color, 16 mm. (The Mouse factory)
NM: additions & compilation. © Walt Disney Productions; 1Nov72;
LP43543.
LP43544.
Mickey Mouse. 30 min., sd., color, 16 mm. (The Mouse factory)
NM: additions & compilation. © Walt Disney Productions; 29Sep72;
LP43544.