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Degradable mulch film (DMF) is a potential alternate to polyethylene (PE) mulching. In this regard, the purpose of this paper is to explore the effects and paths of natural disaster shock and risk aversion influencing farmers’ DMF adoption.

This research is conducted by collecting cross-sectional data of corn farmers in Zhangye, China. First, by using the Tobit model, the paper attempts to explore the effects of natural disaster shock and risk aversion influencing farmers’ DMF adoption. Second, IV-Tobit model is applied to deal with endogenous problems between risk aversion and DMF adoption. Additionally, the researchers used a moderating model to analyze feasible paths of natural disaster shock and risk aversion impacting farmers’ DMF adoption.

The outcomes show that natural disaster shock and risk aversion significantly and positively affect farmers’ DMF adoption. Though risk aversion plays a significant moderating effect in influencing farmers’ DMF adoption by natural disaster shock, the moderating effect has a serious disguising effect. By considering the heterogeneity of risk aversion, the paper further confirms that if the intensity of natural disaster shock is increased by one unit, the intensity of MDF adoption by farmers with high-risk aversion also tends to increase by 15.85%.

This study is the pioneer one, which is evaluating the intensity of farmers’ DMF adoption from adoption ratio, investment amount, labor input and adoption time. Additionally, the research provides important guidelines for policymakers to motivate medium and low-risk aversion farmers to adopt DMF.

This paper aims to examine the use of coproduction to create a film “Do You See Me?”, to amplify the voices of a “hard to reach” group: older lesbian, gay, bisexual (LGB) victim-survivors of domestic abuse (DA).

Qualitative methods were used as part of the co-production, which included two practitioner focus groups and 14 narrative interviews with lesbian, gay, bisexual, transgender, queer or questioning persons or the community (LGBTQ+) victim-survivors.

Despite differences in gender, sexualities, roles and “lived experiences” across stakeholders, there was a shared aim to ensure victim-survivors had a sense of ownership in this endeavour. Consequently, a positive reciprocity existed that helped to foster effective communication, allow for capacity building and subsequent knowledge exchange. The collaboration produced a nuanced meta-narrative making visible the “lived experiences” of LGB victim-survivors’ perceptions of perpetrator behaviours.

To the best of the authors’ knowledge, this paper is original in two ways, firstly, providing insights into the “lived experiences” of an invisible group; older LGBTQ+ victim-survivors, and secondly, in involving them in the co-production of a film. The paper aims to reveal how interdependencies that developed between stakeholders helped to disrupt understandings, develop new ways of knowing and build levels of trust. Group interactions helped to dismantle hierarchies, so those with experiential knowledge: the survivors, had greater control throughout the research process. The paper is significant in providing a critical reflection on the ethical, methodological and resource challenges involved in co-production. It also makes recommendations for researchers and funders about the value of using co-production as a method to engage with hard-to-reach groups.

Climate change not only causes serious economic losses but also influences financial stability. The related research is still at the initial stage. This paper aims to examine and explore the impact of climate change on financial stability in China.

This paper first uses vector autoregression model to study the impact of climate change to financial stability and applies NARDL model to assess the nonlinear asymmetric effect of climate change on China’s financial stability using monthly data from 2002 to 2018.

The results show that both positive and negative climate shocks do harm to financial stability. In the short term, the effect of positive climate shocks on financial stability is greater than the negative climate shocks in the current period, but less in the lag period. In the long term, negative climate shocks bring larger adjustments to financial stability relative to positive climate shocks. Moreover, compared with the short-term effect, climate change is more destructive to financial stability in the long run.

The paper provides a quantitative reference for assessing the nexus between climate change and financial stability from a nonlinear and asymmetric perspective, which is beneficial for understanding climate-related financial risks.

This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow “feel good” movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who “prefer” arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.

The visitor economy of Forks now clearly relies upon a niche form of tourism – as fans of The Twilight Saga are drawn to the setting and filming location of the films. The purpose of this study is to consider the process of diversification and subsequently present recommendations that could inform a future diversification strategy for Forks, in preparation for a post-film tourism scenario.

The research methods employed in this study have two interlinked but distinct elements. Firstly, the Twilight Effect in Forks (WA, USA) is considered as an illustrative case study to shed light on the issues facing a destination that has seen a tourism boom as a direct result of popular culture – The Twilight Saga Franchise. Secondly, a scenario thinking and planning approach is applied when considering the “long-view” future of tourism in Forks.

This article presents a post-film tourism future scenario for Forks; it suggests tourism diversification and a shift towards cultural heritage and wellness. Forks is well placed to afford such tourism experiences, as it offers unique cultural and natural characteristics; furthermore, these could be utilised to create and maintain a distinctive destination image. In doing so a more socially and environmentally sustainable industry can be established, one which supports the local community, including the Quileute tribe.

The article offers original discussions within the film-tourism literature with novel approaches to understanding the management and pre-planning opportunities for destinations that have become popular film tourism locations, with the application of a “Tourism Diversification Model”. The model is adapted from Ansoff Matrix and can be applied as a framework in future studies exploring destination diversification. The investigation of Forks as a post-film tourism case study alone is unique, and the discussions and findings presented are original.

Adolescent mental health is a global concern. There is an urgent need for creative, multimedia interventions reflecting adolescent culture to promote mental health literacy and well-being. This study aims to assess the impact of a film-based intervention on adolescent mental health literacy, well-being and resilience.

A pretest-posttest intervention with a multi-methods evaluation was used. A convenience sample of ten schools facilitated students aged 15–17 years to engage in an online intervention (film, post-film discussion, well-being Webinar). Participants completed surveys on well-being, resilience, stigma, mental health knowledge and help-seeking. Five teachers who facilitated the intervention participated in post-implementation interviews or provided a written submission. Analysis included paired-t-test and effect size calculation and thematic analysis.

Matched pretest-posttest data were available on 101 participants. There were significant increases in well-being, personal resilience and help-seeking attitudes for personal/emotional problems, and suicidal ideation. Participants’ free-text comments suggested the intervention was well-received, encouraging them to speak more openly about mental health. Teachers similarly endorsed the intervention, especially the focus on resilience.

Intinn shows promise in improving adolescents’ mental health literacy and well-being. Film-based interventions may encourage adolescents to seek professional help for their mental health, thus facilitating early intervention.

This article explores the concept of ‘linguistic landscape’ (Landry & Bourhis, 1997) and applies it to the Tutong Town Centre, which was depicted briefly in the film Gema Dari Menara (1968). Due to the cursory and grainy depiction on screen, a study of the present linguistic landscape of the town featured in the film is far more practical than a detailed comparison of the linguistic landscape of Tutong town then and now. In essence the film has provided a geographical scope for linguistic/ semiotic analysis presented in this paper. The study of signs ‘in a given geographical location’ (Ben Rafael et al, 2006: 14), using the distributive count approach, lends itself to a greater understanding of the ethnolinguistic vitality and sociolinguistic interactions of the language groups living in what can be described as a multilingual and multiracial small town. Such evidence of language use in the public sphere results from an interplay of various factors within the town’s societal context, that could be related to Scollon & Scollons’ (2003:2) idea of ‘the social meaning of material placement of sign and discourses'. This study challenges the notion of ethnic languages’ 'disappearance' from public sphere, and instead raises questions about their ‘initiation’ into public use. The study also concludes that the supposed multilinguality of the Tutong Town population is not represented in the linguistic landscape.

In this article, we discuss an innovative audience research methodology developed for the AHRC-funded “Beyond the Multiplex: Audiences for Specialised Film in English Regions” project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.

Acting entrepreneurially in nascent industries is a complex endeavor characterized by uncertainty and ambiguity. Nevertheless, entirely new industries do emerge, often as a direct result of entrepreneurial behavior. We extend and apply discovery and creation approaches to study entrepreneurial behavior during industry emergence by means of qualitative analysis of a film about the personal computer (PC) industry℉s formative years. We find that discovery and creation behavior are fundamentally interrelated and share a common element: bricolage. Moreover, ideological activism is a major component of entrepreneurial behavior in a new industry℉s formative years during both creation and discovery processes. Implications for research and practice are discussed.