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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 aim of this paper is to analyze the interrelationship between film-induced tourism and visits to theme parks by tourists and examine the most viewed movies worldwide (2010–2022) which are related with theme parks and their attractions.

The methodology used in this study is a set of qualitative and quantitative indicators for measuring the most visited theme parks worldwide and the most viewed movies that have allowed to answer the research questions.

This research provides a new contribution to tourism and entertainment industries. Results have shown that film-induced tourism can be the perfect marketing tool to attract more tourists to theme parks through movies and their real or fictional characters represented in films such as Marvel, Minions, Avatar, Harry Potter and Disney, amongst many others. These famous characters are part of theme park’s rides to attract tourists to visit film theme parks These rides allow users to travel in a fantasy experience and interact with film characters of cartoons or fictions. There is a high correlation between film-induced tourism and theme parks’ attractions. Film-induced tourism provides great benefits to the society, theme parks, cinemas and tourist destinations. Indeed, movies help to increase the number of visitors to theme parks. In 2019, 215 million people visited the top 20 theme parks worldwide analyzed in this study, this figure is quite lucrative to entertainment and tourism sectors, local and regional economies where these theme parks are localized.

This study presents the importance of theme parks at tourist destinations because theme parks are an extension of movies, thus is, the end of the physical perfect experience at theme parks which began in a movie seat or on your TV/videogame/PC screens.

本文的主要目的是分析电影引起的旅游和游客参观主题公园之间的相互关系, 并研究与主题公园及其景点有关的全球最受欢迎的电影（2010-2022年）。

本研究使用的方法是一套定性和定量的指标来衡量全球访问量最大的主题公园和观看次数最多的电影, 使我们能够回答本研究中提出的问题。

这项研究为旅游和娱乐业提供了新的贡献, 结果表明, 电影引起的旅游可以成为完美的营销工具, 通过电影及其影片吸引更多的游客到主题公园。通过电影和他们在电影中所代表的真实或虚构的人物, 如漫威、小人、阿凡达、哈利波特、迪斯尼等, 主题公园。这些著名人物是主题公园景点的一部分, 以吸引游客参观与电影有关的景点。这些景点让游客有一个幻想的体验, 并与卡通人物互动。电影引起的旅游和主题公园景点之间存在着高度的相关性。我们必须认识到, 电影引发的旅游为社会、主题公园、电影院和旅游目的地提供了巨大的利益。事实上, 电影有助于增加主题公园的游客数量。2019年, 有2.15亿人参观了本研究中分析的世界前20大主题公园, 这个数字对于娱乐和旅游部门、这些主题公园所在的地方和区域经济来说是相当有利可图的。

本研究揭示了主题公园在旅游目的地的重要性, 因为这些旅游景点是电影的延伸, 也就是说, 主题公园及其基于电影和动画的景点是游客在主题公园生活体验的最后一部分, 而这种体验是从电影院的座位上、电视、视频游戏或电脑屏幕前开始的。

El principal desafío de este artículo es analizar la interrelación entre el turismo inducido por las películas y las visitas a los parques temáticos por parte de los visitantes, y examinar las películas más vistas en todo el mundo (2010-2022) relacionadas con los parques temáticos y sus atracciones.

La metodología utilizada en este estudio es un conjunto de indicadores cualitativos y cuantitativos para medir los parques temáticos más visitados a nivel mundial y las películas más vistas que nos han permitido responder a las preguntas planteadas en esta investigación.

Esta investigación proporciona una nueva contribución a las industrias del turismo y el entretenimiento. Los resultados han demostrado que el turismo inducido por el cine puede ser la herramienta de marketing perfecta para atraer más visitantes a los parques temáticos a través de películas y sus personajes reales o ficticios representados en películas como Marvel, Minions, Avatar, Harry Potter, Disney, entre muchos otros. Estos personajes famosos son parte de las atracciones de los parques temáticos para atraer a los visitantes a visitar las atracciones relacionadas con las películas. Estas atracciones permiten a los visitantes tener una experiencia de fantasía e interactuar con personajes de películas de dibujos animados o ficción. Existe una alta correlación entre el turismo inducido por el cine y las atracciones de los parques temáticos. Debemos reconocer que el turismo inducido por el cine ofrece grandes beneficios a la sociedad, parques temáticos, cines y destinos turísticos. De hecho, las películas ayudan a aumentar el número de visitantes a los parques temáticos. En 2019, 215 millones de personas visitaron los 20 parques temáticos más importantes del mundo analizados en este estudio, esta cifra es bastante lucrativa para los sectores de entretenimiento y turismo, y la economía local y regional donde se encuentran estos parques temáticos.

Este estudio revela la importancia de los parques temáticos en los destinos turísticos, dado que estas atracciones turísticas son una extensión de las películas, es decir, los parques temáticos y sus atracciones basadas en películas y animaciones son la parte final de una experiencia vivida por los visitantes en dichos parques y que comenzó en un asiento de cine, frente a su TV, un videojuego, o pantalla de ordenador.

This chapter focuses on clarifying the cooperation and convergence between tourism and audiovisual (AV) sectors in Hamburg and Riga. In light of increasingly easier and more accessible travel, the tourism sector is a growing trend in most countries and regions. To what extent does this affect cooperation with the AV sector? The chapter gives an overview of different types of cooperation in these regions and brings out the main obstacles for innovation. When describing the innovation systems, focus is put on institutional frameworks in these two regions. We end by arguing that raising the demand for innovation in the tourism sector is a real challenge and demonstrating that the public sector plays an important role in driving the cross-innovation processes between the observed sectors.

The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.

The last two decades have witnessed a surge of interest in social entrepreneurship organizations (SEOs). Understanding their business models is crucial for sustaining their long-term growth. This paper analyses how SEOs that use the approach of social bricolage adapt their business model to develop social innovation.

This study used in-depth multiple comparative case studies and narrative analysis to focus on the South of Italy, where these ventures play a crucial role in the entrepreneurial process of minor and abandoned cultural heritage sites, generating economic and social value and employment opportunities.

By developing a conceptual framework, this paper enhances current understanding of the social dimensions of SEOs’ business model. These ventures using the approach of social bricolage can produce social innovation, reinventing and innovating their business model. The business model innovation of the cases revealed a strong social mark and identified peculiar strategies that both respond to social needs and long-term sustainability in complex contexts.

This study connects previous knowledge on social bricolage with the business model innovation, highlighting routines and processes used by ventures, and provides a starting point for social entrepreneurs and innovators in the complex and often uncertain cultural domain of the Third Sector in Italy.

The paper aims to contribute to the literature on SEOs by exploring their main features and social dimensions. By combining social bricolage and business model innovation, it offers a novel conceptual framework for developing social innovation and for the study of SEOs.

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 purpose of this paper is to examine human resource management (HRM) innovation programs in the early stages of employment for workers with an intellectual disability (WWID).

The first case study was carried out at a large national courier company where a film innovation programme was used to enhance the socialisation process of WWID. The second case study was at a five-star hotel situated in a large city where a buddy system innovation programme was used in the induction and training process of WWID.

The overarching “life theme” created through these innovation programs was one of enhanced and creative opportunities for social inclusion. The participants displayed more confidence and independence in their ability and exhibited aspirations to advance and succeed in their roles.

The study argues that HR professionals need to be more proactive in finding innovative ways to engage WWID in the early stages of employment.

The qualitative study is underpinned by socialisation and career construction theory which provides the framework to discuss the ways in which socialisation and socially inclusive HRM practices enable participants and other WWID achieve success on their career paths. The key message of our research is that early vocational socialisation innovation programs can make a positive difference to the work experiences of WWID.

This article aims to present aspects related to women’s personal life and work illustrated in the TV series Most Beautiful Thing (Coisa Mais Linda, in Portuguese).

To this end, a film analysis was carried out considering the first season of the TV series Most Beautiful Thing, and to analyze the data, qualitative content analysis was used according to Bardin (2006).

The analysis showed that women’s struggles were and are distinct. While white women are fighting for the right to work - concomitantly reconciling their roles as mother, wife and housewife -, black and poor women fight for survival and dignity. As result, the film analysis showed that women’s search for a different social position is related to an inherent cultural aspect. It is relevant to mention herein that this struggle remains up to the present; such struggle is characterized by the occultation of the social role played by women.

As a limitation, there are few studies that address the theme of white and black women during the period reported in the series.

The main contribution of this article is the use of a filming product that portrays the 1950s, but bringing current discussions on the role of women in society, especially regarding the labor market, the patriarchal domination of men, prejudice, racial, and class discrimination.

This paper aims to consider the relationship between urban events and urban public space, asking whether cities have enough space for events and whether events have enough space in cities.

Policy analysis surrounding events and festivals in the Netherlands is used to understand the dynamics of urban events, supported by content analysis of policy documents. A vignette of event space struggles in Amsterdam illustrates the contradictions of the event/space relationship.

The research identifies a policy shift in the Netherlands towards urban events from expansive, festivalisation strategies to defensive, NIMBYist policies. It exposes contradictions between protecting space as a living resource and the exploitation of space for regenerative purposes. Three future scenarios for urban events are outlined: conflict and competition, growth and harmony and digitalisation and virtualisation.

Develops scenarios for the future relationship between events and urban space.

Provides an analysis of the recursive spatial implications of the growth of the events sector for cities and the growth of cities for events.

The chapter takes a micro-level view to investigate cross-innovation between the audiovisual media and tourism sectors. It provides a narrativised account of the creation and development of two location-based film tourism apps, one developed in Hamburg, Germany and another in Malmö, Sweden. In doing so, it aims to elucidate the dynamics of innovation at the boundaries of industries, as experienced by individuals and small groups engaged in the process. The conclusion of the chapter focuses on the broader issue of the relative slowness of innovation in the tourism industry, as well as the shortage of private sector-driven initiatives that address this issue. It also touches upon the critical issue of the platformisation of tourism industries and its potential effects on cross-innovation.