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Through a critical viewing of All in the Family and Curb Your Enthusiasm, significant shifts in popular conceptions of racialized others can be identified. All in the Family, represented by the character Archie Bunker, and Curb Your Enthusiasm, represented by Larry David, are deconstructed and contrasted to represent distinct eras in the portrayal of race relationships. All in the Family takes a sanctimonious and judgmental stance toward prejudice that embodies a simplistic conception of race humanized through the defects of Archie Bunker. Curb Your Enthusiasm, in contrast, offers a complex conception of racialized relationships, humanized by the character of Larry David. Comparisons of the two portrayals suggest that (1) conceptions of race have shifted from fixed, definitional and “individualized” contents toward situational, fluid, and ironic ones, (2) this shift parallels transformations in society, and (3) sarcastic and framed narratives of the consequences of interracial relationships and race prejudice have displaced optimistic and challenging portrayals. For their respective eras, each program reflects conceptions of race in popular consciousness.

The purpose of this paper is to discuss the implementation of effective risk‐based anti‐money laundering (AML)/combating the financing of terrorism (CFT) systems of control in order to properly address the risks facing the financial services industry. It seeks to argue that most systems of controls currently in place are ineffective and bureaucratic and do not address the real risks.

The paper outlines the recent history of AML/CFT measures and the underlying reasons for their adoption. It then argues that if risk‐based is to be adopted a methodology to address the risks must first be designed. The paper outlines the pre‐requisites for the design of such a system and the factors that need to be considered for implementation. The paper highlights the need for regulators to fall in line with the risk‐based approach and to pass back to senior management responsibility for the implementation of systems of control which are appropriate and proportionate.

Most of the current systems of control in AML/CFT are driven by regulatory requirements and not an understanding of the risk facing the firm.

The paper is original work of the Financial Services Commission in its entirety.

This chapter considers the influence of horror on the production of commercial gay pornography. I see this influence reflected especially in the production and popularity of gay pornographic films inspired by horror franchises from the slasher and ‘torture porn’ cycles that have been remade in recent decades. Nine texts are selected for analysis – from the slasher genre: Bryan Kenny’s 2010 A Nightmare on Twink Street (inspired by the A Nightmare on Elm Street series), Andy Kay’s 2012 Black XXXmas (inspired by Black Christmas), Frank Fuder and Angel Skye’s 2009 Halloweiner: Friday the Fuckteenth and Chi Chi LaRue’s 2016 Scared Stiff (both inspired by the Friday the 13th series), Bromo’s 2017 Cream for Me (Scream series); and from the torture porn genre: Jett Blakk’s 2006 Bonesaw, John Bruno’s 2006 Rammer and Bryan Kenny’s 2010 Raw I and 2011 (with Andy Kay) Raw II (inspired by the Saw franchise). The specificity of the horror genre is addressed, as is the importance of gender. But particular focus is directed toward the structural aspects of gay porn parodies and the degree to which horror parodies in particular have the potential to blend pornographic homosex with graphic violence, perhaps most extreme in the slasher and torture porn horror variants. Other potentialities are also explored, such as for the easing of narrative/sex porn tensions.

Extreme metal originated in North America and Europe in the late-1980s, but Australia’s adoption of the form followed closely. One of the first Australian extreme metal (AEM) acts was Sadistik Exekution from Sydney, formed in 1985. Sadistik Exekution are notable for combining musical intensity with irreverent humour and parody. They introduced global extreme metal to the trope of the Australian larrikin: a once pejorative characterisation that has become a term of endearment in contemporary Australian culture, describing a defiant and jocular personality. This trope is evident in Sadistik Exekution’s work, but it has since proliferated more broadly throughout AEM, exemplified by more recent bands like Blood Duster and King Parrot. Their music, too, is inarguably intense and provocative, but is simultaneously mocking of the solemnity of its scene and lineage. This chapter will examine how bands like Sadistik Exekution, Blood Duster and King Parrot, through their public personas and musical and paramusical texts, have subverted extreme metal coding, thereby uncovering a uniquely Australian trajectory in extreme metal style and history.

Bureaucratic hierarchy, as the hallmark of the modern organization, has been remarkably resilient in the face of increasingly pervasive attacks on its fundamental value and usefulness. We investigate the reasons for this from a cultural, particularly psychoanalytic, perspective – one that sees hierarchy's perpetuation not in terms of the efficacy of its instrumental potential, but rather in the values that are culturally sedimented within it. We argue that hierarchy reflects longings for a pure heavenly order that can never be attained yet remains appealing as a cultural fantasy psychologically gripping individuals in its beatific vision. To tease out this cultural logic we examine two representations of it in popular culture – the U.S. television comedy The Office (2005–) and comedian Will Farrell's impersonation of George W. Bush (2009). These examples illustrate the strength of bureaucratic hierarchy as an affective cultural ideal that retains its appeal even whilst being continually the subject of derision. We suggest that this cultural ideal is structured through a ‘fantasmatic narrative’ revolving around the desire for a spiritualized sense of sovereignty; a desire that is always undermined yet reinforced by its failures to manifest itself concretely in practice. Our central contribution is in relating hierarchy to sovereignty, suggesting that hierarchy persists because of an unquenched and unquenchable desire for spiritual perfection not only amongst leaders, but also amongst those they lead.

This paper explores the purposive use of the selfie in the construction of personal narratives that develop and support an individual’s human brand. Selfies were divided into archetypical clusters of “genres” that reflected the combined story told through Instagram image and accompanying text captions.

The analysis drew a randomized sample of 1,000 images with accompanying text from a large capture of 3,300 English language captioned selfies. Coding for semantic and semiotic data used a three-wave technique to overcome interpretive limitations.

Based on their structural characteristics, seven genre types emerged from the coded sample set. These primary genres of selfie meta-narratives are autobiography, parody, propaganda, romance, self-help, travel diary and coffee-table book.

The research is limited in generalization to the Instagram photo-sharing app platform by design. Samples were taken from the app due both to its popularity and its capacity to annotate images. Selfies conducted in non-public, non-annotation-based apps may produce alternative genres and classifications.

The paper presents a genre classification to examine how selfies are used to “show, not tell” a portion of the consumer’s life story. Brands, firms and marketers can apply genres to examine the selfie types that best connect with the identity of their brands and consumers, based on how their consumers communicate within the Instagram network.

Selfies are an oft pathologized and moralized aspect of consumer conduct. We present a view of the selfie as a deliberate, consciously considered communication approach to maintaining social bonds between friends, family and wider audience. Selfies are presented as a combined effect of consumption of a social media service (Instagram) and the co-production of valued content (the selfie) that recognizes the individual as an active constructor of their digital self.

The paper outlines a novel framework of selfie genres to classify the deliberate human-brand narratives expressed in selfies. By taking a narrative perspective to the Instagram selfie practice, the genre type captures the combined effect of the mimesis and diegesis, where the mimesis showing of self is contextualized with the diegesis of the provided captions to capture an intentional storytelling act of image and text.

Purpose – This chapter explores the use of music and celebrity endorsements in political campaigns of the United States. It focuses on two aspects: (1) the legality of a political campaign’s use of music at rallies and in advertisements without authorization from the owner of the musical work and (2) a review of the literature on the potential effect of the use of music in political campaigns on voter behavior.

Design/methodology/approach – A brief history of the use of music in political campaigns precedes an examination of the expansion of copyright law protection for music and the legal claims musicians may raise against the unauthorized use of music by political campaigns. The chapter then reviews the potential effect of political campaigns’ use of music and celebrity endorsements on voter behavior.

Findings – A musician’s primary legal protection falls under copyright law, but the courts disagree on whether the unauthorized use of music at political rallies and in political campaign advertisements results in copyright infringement. Social research suggests music and celebrity endorsements affect voter behavior with a likely greater effect on first-time voters.

Originality/value of chapter – This chapter introduces the complicated application of copyright law to the unauthorized use of musical works by political campaigns. Additionally, it notes the limited research on the effect of music and celebrity endorsements on voter behavior even as political campaigns increasingly target niche demographics with specific music selections to motivate voters to vote.

This study aims to theoretically discuss and empirically investigate to what extent the interplay between the domains of knowledge complexity (managerial, strategic and operational) facilitates firm performance and the role of organizational resilience in this relationship.

This paper uses primary data collected from 102 European small and medium-sized firms (SMEs) in Belgium, Bulgaria, Denmark, Spain and the UK during 2012–2015 and 2010–2020. This study corrects for potential data disclosure and technology adoption bias in two survey ways.

First, compared to other acumens of knowledge complexity, managerial and operational acumens contribute most the most to a firm’s performance (sales and productivity). Firm resilience positively moderates managerial skills and negatively moderates inter-organizational collaborations. Taking SMEs and their inter-organizational relationships, skills and resilience in focus, considering that they are transitive organizations whose business model is based on innovation and productivity to outcompete larger counterparts it is found that resilience and agility in SMEs are important to leverage the effect of knowledge complexity on firm performance.

One of the limitations of this study is that SMEs are expected to face more problems in achieving organizational ambidexterity with all three acumens, as they have restricted managerial expertise, less structured procedures and fewer resources than larger firms. In addition to regression analysis which is limited in answering “how” and “why” knowledge complexity is managed within and outside a firm, future research will consider a mixed-method approach of both interviews with high growth SMEs and online surveys. To unveil the role that firm resilience in SMEs and in the volatile environment, future research may focus specifically on firms that lack resources, skills and time, however, continue innovating, commercializing new knowledge and create new jobs.

One of the most important mechanisms which facilitate the managerial acumen was found to be information technology (IT) investment and management decision-making, exploitation of new information and communication technology trends and markets, innovating business models and driving change management, innovating new mobility and digital technologies, as well as use inter-disciplinary staff and knowledge to influence external stakeholders. The most relevant elements of the operational acumen of knowledge for performance in SMEs are various mechanisms and forms of inter-organizational collaboration such as collaboration on business and IT applications and infrastructure, administration and operations with data and information exchange, collaboration on data availability, accumulation and exchange.

The findings call for innovation policy to account for the need for interactions between various elements of strategic, managerial and operational acumens of knowledge complexity in SMEs. Prime support should be focused on facilitating inter-organizational collaboration and providing “soft support” in the time of agility and adversity. This paper founds that lack of budget, skills and resources would significantly affect a firm’s resilience, potentially “locking in” within an organization.

First, it emphasizes that the returns from inter-organizational collaboration as part of the operational acumen of knowledge complexity depend upon the firm’s ability to manage infrastructure, mobility and data. The relationship is negatively moderated by firm resilience, which means that the most resilient firms may focus on the exploitation of internal resources and substitute it for inter-organizational collaboration. Second, this study demonstrates that SMEs’ growth and productivity strategy should be management skills and competencies driven, rather than strategy-driven, with strategy facilitating managerial decision-making on business and IT.