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The paper aims to examine the role of creative industries in general and the film industry in particular for place‐making, spatial development, tourism, and the formation of creative cities.

The article reveals the preliminary findings of two case studies from Beyoglu, Istanbul, and Soho, London.

The research found a relation between place and creativity and the positive contribution to creativity of being in a city center. Among the creative industries, the film industry plays an important role in the economic and spatial development of cities by fostering endogenous creativeness, attracting exogenous talent, and contributing to the formation of places that creative cities require.

The paper raises interesting questions about the importance of place to creativity, also questioning whether creative industries can be a driver for regeneration.

This paper aims to analyze how strategizing practices can legitimate construction of public sector policy. The Porto Alegre Film Commission was set up as part of a strategy to increase the city’s competitiveness as a tourism destination. The municipal government engaged with private and public stakeholders and embarked on a collective process of policy construction.

The authors based their research on two theoretical lenses from business administration theory: strategy as practice (SaP) and neo-institutional theory (NIT), whereby SaP attempts to explain formation and implementation of strategy on the basis of a process that seeks a collective result, whereas NIT reveals the limits of this formation and implementation, attributing the process to influences of power and legitimacy. Thus, the authors get a more accurate view of the actors and the system of governance, considering the in-built reflexivity of these relationships and their capacity to change institutional arrangements. The authors conducted an in-depth case study with a qualitative approach, using semi-structured interviews, participatory observation and documentary analysis.

The results revealed the role played by the government and how practices used in the strategizing process ensured the legitimacy of public sector policy formulation and engaged private and public stakeholders.

The authors recognize limitations such as the investigation being set in a single country and responses based on the interviewees’ perceptions of momentum. It would be interesting to undertake cross-national comparisons using empirical data that allow comparison of film commissions with different relationships between strategizing, power and politics.

This case study analyzed the relationship between formal institutional agents and the strategies adopted to create and run the Porto Alegre Film Commission (PAFC), positioning Porto Alegre as a destination for film and video production and, reflexively, making it more attractive to tourists interested in getting to know the locations where publicity campaigns, films and soap operas were filmed. This formal institution agent was converted into a strategic catalyzer to influence the institutional issues in a creative industry in which trade associations and firms had encountered difficulties when they attempted to set up a film commission alone.

The evidence compiled showed that the practices, besides being strategic, were enacted in a specific context and directed toward results and survival of the PAFC. The practices shaped the results, because they were constructed together with other actors, achieving legitimacy through collaborative development of practices and targeting survival by establishing governance structures capable of riding out periods of political transition. In short, the collective construction of the PAFC policy, led by the public sector, legitimized it in the eyes of society.

This study furthers the discussion about strategizing in an organizational field marked by power relationships and how their consequences can affect society in general. There is a need to take a closer look at the implications of strategizing for power relationships and how the consequences can influence the organizational field.

Sweden, with a 3.4 million labour force, 45 per cent of it in commerce, transport and the service industries, tackles the problem of re‐training in a thoroughly imaginative way, as a film Investment in Manpower (col, 30 min) shows. Their National Labour Board deals with it in the round, fitting the men to the jobs, and treating its material throughout as human beings with modern human needs. There are no age limits, and prejudices about being too old to learn are firmly squashed. Rail fares to attend interview are paid, moving costs met, and grants given to keep the home going while training.

Since the launch of the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) in 2003, Hong Kong cinema is believed to have confronted drastic changes. Hong Kong cinema is described to be dying, lacking creative space and losing local distinctiveness. A decade later, the rise of Hong Kong – China coproduction cinema under CEPA has been normalized and changed the once pessimism in the industry. The purpose of this paper is to demonstrate how Hong Kong cinema adjusted its production and creation in the first 10 years of CEPA.

Beginning with a review of the overall development, three paradigmatic cases are examined for reflecting upon what the major industrial and commercial concerns on the Hong Kong – China coproduction model are, and how such a coproduction model is not developed as smooth as what the Hong Kong filmmakers expected.

Collectively, this paper singles out the difficulties in operation and the limit of transnationality that occur in the Chinese context for the development of Hong Kong cinema under the Hong Kong – China coproduction model.

This is the author’s research in his five-year study of Hong Kong cinema and it contributes a lot to the field of cinema studies with relevant industrial and policy concern.

It's not enough to simply acquire alternative and small‐press materials. They must also be made easily accessible to library users by means of accurate, intelligible, and thorough cataloging.

The purpose of this review is to offer a summary of visual and projective research methods that have been applied or may be applied fruitfully in an Asian context. Examples are provided and a delineation of the strengths and weaknesses of the methods is made.

This is a review article covering a number of different relevant methods and briefly reviewing studies that have been conducted in Asia using these methods.

The paper reviews five different uses of qualitative visual and projective methods in Asian consumer and market research: as archival data for analysis; as direct stimuli for data collection; as projective stimuli for data collection; as a means for recording qualitative data; and as a means for presenting qualitative findings.

It is suggested that Asia contains a rich visual culture and that the research techniques reviewed offer compelling means for enhancing data collection, data analysis, and findings presentations from qualitative market and consumer research in Asia.

The paper brings together a diverse array of prior research illustrating the potential of the methods reviewed. In addition to discussing this research a number of references are provided for those wishing to examine these methods in greater detail and apply them to their own research.

The purpose of this research has been to compile an up to date survey of the management methods of the film and television industries used by local and regional government agencies in international production centres. It was intended that the results of the survey would clarify differences in mode of operation and governance and the factors that may contribute to their “attractiveness” from the point of view of the film production market.

The methodology used a combination of written questions and telephone interviews to elicit responses from selected agencies in English‐speaking countries. A typology of different management approaches has been prepared on the basis of the survey data.

The main findings are that the primary government role is connected with film production management, yet very limited evidence has been found for proactive spatial/economic planning support for the industry by local or regional government.

The limitations of the research relate to the smallness of the sample and the difficulty, in some cases, of eliciting meaningful responses. The implications of the findings are considered to be of considerable relevance to desirable modes of governance, the need for planning reform, and ways in which production management processes can be better streamlined. The potential role for local or regional government in adopting practices more in tune with market requirements has considerable implications for the creative and cultural economy, and the findings are of relevance to government decision makers and senior policy staff.

The social implications are indirect and theoretical as they relate to improvements in the cultural landscape of spatial industry clusters. They have not been examined in this paper.

This research program is considered to have originality in that it bridges distinct areas of inquiry usually dealt with by separate professions or skill‐sets (film production, governance and management). Its originality is supported by the limited data discovered in the literature on this combination of topics.

Mumbai needs to be transformed into a world-class city as stated in the 2005–2025 development plan of Municipal Corporation. For this initiative, hospital management information system (HMIS) has to be implemented across 400+ health facilities in the city.

A case study methodology was adopted to study HMIS implementation. Wave 1 of Phase 1 implementation of HMIS is carried out as a pilot project at Film City’s Hospital, Mumbai, which “go-live” on 21st June 2018. The work for hardware and software implementation was awarded to HardSystems and Solutions Limited and SoftSolutions India Private Limited, respectively, through e-tender.

Provision of inadequate quantity of hardware, slowness of network or system, non-satisfactory training after observation confirmation and sign-off process, lack of data entry operators, mismatch in numbering systems in blood bank and many other challenges concerned with the specific departments had become a major impediment in the efforts to maximize number of patients registered into HMIS.

Even after providing many clinical and managerial benefits, being the first cloud-based centrally located HMIS in any of the hospitals in the city, it imposes a major challenge for the management in terms of resistance of employees toward technology and need for the adoption of theoretical models for implementing change for the overall organizational development.

To the best of the authors’ knowledge, no other teaching case study is conducted to study the HMIS implementation in large-scale public health-care services. This is a dummy case study for teaching exercises. The identity of the stakeholders, organizations and events has been masked to maintain confidentiality.

The purpose of this paper is to examine the experiences of aspiring school leaders who utilized artmaking (in this case, photography, poetry, music, collage, and short films) through Microsoft MovieMaker as a means for addressing injustices within surrounding school communities. The paper aims to explore how aspiring school leaders understood contemporary curriculum issues within increasingly culturally diverse school communities in the USA.

This two‐year qualitative study embedded in grounded theory examined the experiences of aspiring school leaders who utilized artmaking (in this case short films through Microsoft MovieMaker) to examine contemporary curriculum issues within surrounding school communities. This study is conducted within the naturalistic tradition.

The significance of artmaking encourages participants to visually articulate the lived realities of disenfranchised populations. Participants engage in artmaking experience self‐transformation and a calling to encouraging human agency.

In the wake of addressing issues of social justice, the highly charged emotions associated with addressing such issues is evident in the range of emotions that surface including, anger, fear, intimidation, deep sorrow, resentment, joy, and others. Very little scholarship exists for aspiring school leaders who confront issues of social justice in relation to the intensity of emotions and their work.

This study aims to test the utility of Pearce et al.'s (2003) framework on film tourism in Otaru, Japan. This framework involves marketing the attraction according to five stages: resource identification, marketing emphasis, interpretation, sales and merchandising and broader community use. The existing studies have failed to adapt this framework to films. Subsequently, this study uncovers the necessity of an additional stage involving sustainability aspects.

A case study method was adopted, and Otaru, Japan – a popular film location – was chosen. Semi-structured interviews with the major stakeholders of film tourism, such as film commissions, representatives of the film and the tourism industries, tourists and the community, were conducted, and the participants were observed. Data were collected using the snowball sampling technique.

The study reveals that Pearce et al.'s (2003) model is applicable to film tourism by adding a sixth stage to address sustainability, such as the issue of overtourism.

The transferability of the framework to different film tourism cases is plausible. It is also critical for governments and tourism practitioners to consider the community's perspective for sustainability and maximize the use of films as promotional tools for destinations.

This study is the first to apply Pearce et al.'s (2003) model to film tourism, adding value to the literature by extending the framework to include an additional sixth stage to address sustainability.