A growing body of business ethics research has shown that firms are beginning to embrace the lesbian, gay, bisexual, and transgender (LGBT) community with internal organizational policies and temporary activism activities. Despite these positive developments, little research has examined firms’ LGBT inclusion strategy at the product level and whether adding LGBT representation to products helps, hurts, or has no impact on corporate products’ market performance. Prior studies have examined LGBT-themed and LGBT-vague representations and identified limitations of both. The current research (...) presents an alternative LGBT-inclusive representation in which heterosexual and LGBT imagery are both presented, with the former receiving more exposure than the latter. A secondary analysis of 4216 movies and a controlled experiment reveal converging evidence: movies with LGBT-inclusive representation outperform those with no LGBT representation or with LGBT-themed representation. The superiority of LGBT-inclusive representation comes from its ability to appeal to consumer segments holding favorable and unfavorable LGBT attitudes. While cultural and entertainment products often play profound roles in changing society’s ethical standards and moral attitudes, they are rarely studied in the business ethics literature. Our findings fill this gap while answering a multimillion-dollar question for the entertainment industry. (shrink)

This article recommends the film Inside Job as an effective teaching tool for illustrating the ethical issues that surrounded the global financial crisis of 2008 and the subsequent economic downturn. The study discusses issues such as the revolving door, conflicts of interest, fiduciary duty, executive compensation, and financial regulation. The presentation of each ethical issue comprises suggested questions, background information, and guides to specific sections of the film. An overview of the film is provided as well.

The aim of this article is to show how the critically acclaimed and award winning film Margin Call may be used in business ethics teaching. Set in a fictional investment bank at the dawn of the financial crisis, the film zooms in on the motivations and decision-making of people who had much to lose from the crash of the hitherto very profitable mortgage-backed securities market. The film offers rich material for analysis of behaviours that contributed to the crisis. The article (...) will set out topics for classroom discussion, including the impact of incentives and power structures, contextual factors that distance people from the consequences of their actions, and considerations of how the banking industry may be transformed. (shrink)

Despite increasing the presence of ‘ethics talk’ in business and management curricula, the ability of business ethics educators to question the system and support the development of morally responsible agents is debatable. This is not because of a lack of care or competence; rather, this situation points towards a more general tendency of education to become focused on economic growth, as Nussbaum claims. Revisiting the nature of ethics education, I argue that much moral learning occurs through the imagination, and not (...) solely through the rational mind. Individuals are complex, and a great part of what we are lies below the threshold of consciousness. In this respect, ethics education must take into account the psyche and its influence on conscious behaviour, which can best be apprehended through the imagination. Echoing Jung’s concerns about unconscious and indiscriminate masses, I thus explore how imagination and creative material contribute to enhancing both self-knowledge and ethical reflection in the context of organisational life and business education. I especially consider how moral development and social awareness are tied up with individual psychological understanding, and argue that Jung’s analytical psychology offers insightful tools to explore our individuality. (shrink)

Textbooks and manuals on management suggest that managers are heroes who deal with difficult problems of collective adaptation and change. American films are similarly built on the premise of a hero confronted with extremely difficult situations. What if this hero figure promoted for so long in both management literature and the American film industry was the same at the structural level? This paper will attempt to clearly define the ethical performance of heroes that is perhaps shared by the imagination industry (...) and the workplace on the long run. We shall follow this picture of a hero-leader in the ethics of business and cinema through a large corpus of movies and writings on management and provide a set of six features for examining both, a common heroic structure we shall call the Hero-Leader Matrix. (shrink)