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Wesley Snipes has had an extensive career on the big screen starting out as part of the New Black Cinema movement in the 1990s working with Spike Lee and Mario Van Peebles. His roles have been incredibly varied covering drama, comedy, action, thriller, horror and Science Fiction: he has played everything from jazz saxophonist to paraplegic and drag queen to vampire, as well as recently appearing as character actor D'Urville Martin in Eddie Murphy's critically acclaimed Dolemite Is My Name. However, despite his versatility as an actor and his popularity in action films such as Demolition Man and the Blade Trilogy, Snipes has been, surprisingly, the subject of minimal analysis unlike, for example Schwarzenegger and Stallone. Unfortunately, he has also fallen foul of the direct to video curse from around 2005 as well as being sentenced to three years in prison for tax evasion. However, this should not negate Snipes' contribution to cinema, especially in the genre of action. Snipes can be a commanding presence given the right script and direction – as an expert martial artist he is lithe and agile; he has strong facial features and a powerful voice, plus the ability to deliver the wisecracking humour which often goes hand-in-hand with action performances. The aim of this chapter, then, is to focus on Snipes as an action star and, more specifically, his significance as a black action star, examining several key films which have helped to develop his onscreen persona and performance style.

Just as the films that we see are conceived in specific economic, political and cultural contexts, so scholarship is produced within determined situations. This chapter notes some of the driving forces which have led to the emergence of law and film as an area of extensive and very diverse scholarship in the past decade. Whilst these factors have shaped the nature and extent of this work it should be noted that changes in both legal professional interests, academic criteria and within the culture industry mean that we can expect shifts in the nature and patterns of scholarship in the future. These may not, however, be the ones called for by other commentators (Moran, Sandon, Loizidou, & Christie, 2004; Sarat, Douglas, & Umphrey, 2005).

In this chapter, we follow the growth of the pricing discipline, especially through the ideas of one of the earliest of pricing's pioneers: Dan Nimer. The Nimer influence on pricing has been foundational, sewing seeds for the growth and development of various pricing fields and subfields – pricing objectives and pricing strategy, value-based pricing, costing and pricing, financial analysis of pricing, and price sensitivity. The ideas we present in this chapter originated largely with Nimer, many in his own voice. We interweave them with the ideas of other contributors to the pricing discipline to show the development of the field. Dan taught many foundational pricing concepts; they are captured in seminars and articles kept through the years. Founding pioneer to pricing, Nimer's influence will remain long into the new century as pricing enters a new phase as a strategic capability of the firm.

This chapter presents a case study of the lesbian and gay rights movement following the Supreme Court's decision in Bowers v. Hardwick, which was a critical defeat in the campaign for sodomy repeal. Activists responded with a dramatic wave of mobilization by staging protests, successful appeals for organizational donations, building coalitions, and shifting institutional venues. This case provides a paradox for the dominant perspectives within social movement theory and legal mobilization literature, which often traces mobilization back to the expansion of political opportunities. The defeat in Bowers signaled a closing of political opportunities for activists. Drawing from a growing body of literature on political threats and heeding the call to specify the mechanisms of movement dynamics, I show how the defeat in Bowers was translated into proactive mobilization.

In 2001, Faroese Viking Metal band Týr entered a Faroese music competition with their song ‘Ormurin Langi’, which was a reinterpretation of a famous Faroese kvæÐi (a form of European ballad believed to derive from the Middle Ages) by the same name. Hearing this piece of medieval Faroese heritage represented through metal music was not something anyone had ever experienced before. This chapter will therefore explore how Faroese Viking metal – through its musical and visual style – interprets Faroese kvæÐi, which are themselves interpretations of a Faroese medieval past. The combination of Faroese traditions and contemporary metal music does have a societal and cultural effect. What, therefore, happens when the local and the global intersect and create something that cannot be considered global, but is however not purely local either, as it is in Faroese Viking Metal? The interpretation of several kvæÐi in Faroese Viking metal does not exactly perpetuate the authentic, but rather it presents them in a new form and ensures their circulation and repetition through a more globalised and popular media and Viking romanticism is therefore caught up with contemporary sociocultural imaginings of Faroese identity.