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Given the growing external value chain disruptions, there have been many studies seeking to propose methods for improving the resilience of global value chains (GVCs). This study complements previous studies by proposing the perspective of firm strategy in switching governance modes to improve the resilience of GVCs. Specifically, this study explores under what conditions MNCs are more likely to switch governance toward non-equity mode (NEM) from the alternative ones. This study introduces three industry-specific factors that affect MNCs’ decision for NEM. It then applies this framework to explain how Korean MNCs’ strategic governance change for the co-productions with Chinese firms when entering their film market which is highly restricted by the Chinese government. This study enriches the research on GVC resilience by arguing that MNCs can avoid unfavorable environmental impacts by flexibly changing their GVC governance modes under certain conditions. This study also contributes to the understanding on why some countries maintain their high attractiveness for foreign MNCs, whereas other countries do not, given the similar level of restrictive government regulations. The protectionist policies of the host government are valid only in an industry where the three conditions are met, as they increase the possibility of domestic firms’ participation by encouraging foreign MNCs to shift their entry mode from sole venture toward alliances with domestic firms.

The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media industries in small countries in the region as they are challenged in ways notably different from large countries with large domestic markets for media content. It discusses the differences between the AV media industries in the Nordic and Baltic countries and suggests that while in the first case long-term welfare society policies and conscious policy-driven system building have conditioned growth and international success then also in the second case innovation policy rationales have facilitated recent growth and dynamics. It then discusses the specific challenges, especially platformisation to small media industries in contemporary globalising media markets, and suggests that opportunities to resist these challenges may be in local inter-sectoral cooperation, that is, in building cross-innovation systems.

Since the mid-2000s, there has been a marked resurgence in Hollywood action films featuring older male heroes, predominantly showcasing stars ranging from their mid-fifties into their seventies. This ‘geri-action’ cycle – a less-than-kind label that combines geriatric and action – has revitalised the careers of aged action stars such as Sylvester Stallone and Arnold Schwarzenegger. A core element of the cycle, beyond action franchise revivals and all-star ensembles featuring stars from the 1980s and 1990s, has been the emergence of late-career action turns by ageing Hollywood actors in globally successful French-produced, Hollywood-style action films. Part of a larger trend in French cinema towards the production of films in a distinctly commercial register, the ‘globalised’ aesthetic of French action film cannily mimics Hollywood action film style and aesthetics. These French-produced geri-action films are the roots of the cycle, represent some of its biggest box office successes and have transformed the career of several acclaimed recent-to-action Hollywood stars, exemplified by the prolific late action career of Oscar-nominated actor, Liam Neeson, most notably across three Taken films (2008–2014, EuropaCorp). Despite this, these French-produced geri-action films have predominantly been examined as a Hollywood and American phenomenon.

Geri-action quickly became synonymous with 1980s Hollywood action cinema's white male ‘hard bodies’, who are still widely understood to diagnose national anxieties and social ills – and violently embody their so-called “cures”. These French geri-action films similarly feature protagonists who forcefully struggle against perceived threats to the cultural position of traditional (white) masculinities and professional and paternal redundancy. Yet they also showcase deep-seated European anxieties about the threat of porous borders, immigration and social change, presaging a later shift in the cycle in Hollywood. Focusing on films that have received comparatively less scholarly attention, Taken 2 (2012), 3 Days to Kill (2014) and The Commuter (2018), this chapter examines the productive confluence of lower budget French-produced geri-action films and their ageing recent-to-action stars. These films depend on their stars to fortify their globalised Hollywood aesthetic and the stars' personae permit efficiencies such as clipped pacing. At the same time, budget constraints enhance the action performance of recent-to-action stars as unadorned, visceral and authentic-feeling. The films often stage fight sequences in confined, everyday spaces of work and tourism with ageing heroes who must creatively ‘make do’ with objects available to them. Equally, stunt coordination and choreography, editing and sound design make ageing and less experienced action performers appear to move faster and hit harder. Taken together, French-produced geri-action and its recent-to-action stars have transformed not only who stars in ‘Hollywood’ action cinema but who produces it.

This chapter explores three different Cinema, Memory and Wellbeing pilot projects, two of which were carried out in Liverpool and the other in Petrópolis, a city of comparable size in the state of Rio de Janeiro, Brazil. It begins by discussing our motivations for developing these projects and how we drew on our previous research relating to films and cinema-going. It then presents the three different projects, showing how each was tailored to the care context in question (a residential nursing home and a day-care centre on Merseyside, and a GP practice in Brazil), explaining how they were conducted and discussing the results, with a view to informing and improving future initiatives of this type. We also show how our findings have shaped the creation of the ‘best-practice’ toolkit designed to enable activities coordinators, carers and health professionals to optimize the benefits of using films to stimulate memories and reminiscence and promote an improved sense of wellbeing among older people and those living with dementia. (This toolkit is available to download from the Emerald website in English: https://books.emeraldinsight.com/page/detail/Selfies/?K=9781787437173). We recount in detail our practical experiences of setting up and running screenings in diverse environments, how we set about trying to ‘measure’ or at least gather some tangible evidence of the wellbeing benefits of these events, and provide numerous examples of the reminiscences that they generated, as well as the feedback on the projects that we received from both the people who participated and the people who care for them.

The horror genre is and always has been populated by women, who can be seen to be at once both objectified and empowered. Building off the preexisting gender hierarchies and dynamics embedded in the history of horror cinema, this chapter looks at a number of New French Extremity films that assault audiences with unrelenting scenes of violence, torture and self-mutilation, which are performed almost exclusively upon or by women. Although the films of the New French Extremity have been dismissed as exploitative in their representations of wounded and suffering female bodies, their narratives also offer internal criticisms of the misogynistic portals of victimhood that are prevalent in the genre. Through a close analysis of the films Inside (Bustillo & Maury, 2007) (French title: À L’intérieur) and Martyrs (Laugier, 2008), this chapter will examine how both films deviate from the male monster/female victim dichotomy. Although the women of these films may start off vulnerable, they take charge of their situations, while also compacting the nature of feminine identity.

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).