This article provides an account of the development of the casino industry in Chile. For most of the 1930s up to the 1980s the industry remained stagnant and restricted to a few locations. From 1990 the industry grew, but in particular after 2005 following a new law that permitted the creation of new casinos in all regions, with the main aim of promoting tourism. The new casinos had to operate as part of an “integral project,” which included sizable investments in the tourism sector. This was a novel business development strategy. The new industry attracted old and new investors, including foreign operators, who often associated with Chilean business groups, providing the resources needed to finance these developments and enjoying healthy profits for most of the period.

This article examines the evolution of the video game industry in Britain from its start in 1978. The industry originated with passionate hobbyists and amateurs who benefited from the national broadcaster's campaign to expand computer literacy. Unlike the regional clustering of the industry in the United States and Japan, the British industry was dispersed geographically, consisting of mini-clusters with porous boundaries. During the 2000s, the fragmented British industry was largely acquired by U.S. and Japanese multinational companies and became part of global value chains, but the development of mobile gaming and digital distribution provided opportunities for a new generation of start-ups to emerge in Britain.

In the early twentieth century, vaudeville was the most popular theatrical form in the United States. Operating before the rise of mechanically reproduced entertainment, its centralized booking offices moved tens of thousands of performers across hundreds of stages to an audience of millions. Designed to gather and analyze data about both audiences and performers, these offices created a complex informational economy that defined the genre—an internal market that sought to transform culture into a commodity. By reconstructing the concrete details of these business practices, it is possible to develop a new understanding of both the success of the vaudeville industry and its influence on the evolution of American mass culture.

American broadcasting, unique among media industries, relied on sponsors and their ad agencies for program content from the 1920s through the 1950s. Some sponsors broadcast educational or culturally uplifting programs to burnish their corporate images. By the mid-1960s, however, commercial broadcasting had transformed, and advertisers could only buy interstitial minutes for interrupting commercials, during which they wooed cynical consumers with entertaining soft-sell appeals. The midcentury shifts in institutional power in US broadcasting among corporate sponsors, advertising agencies, and radio/television networks reflected a fundamental shift in beliefs about how to use broadcasting as an advertising medium.