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Given that the workforce constitutes a principal resource of primary care, appraisal of models of care requires thorough investigation of the health workforce in all Models of Child Health Appraised (MOCHA) countries. This chapter explores this in terms of workforce composition, remuneration, qualifications and training in relation to the needs of children and young people. We have focused on two principal disciplines of primary care; medicine and nursing, with a specific focus on training and skills to care for children in primary care, particularly those with complex care needs, adolescents and vulnerable groups. We found significant disparities in workforce provision and remuneration, in training curricula and in resultant skills of physicians and nurses in European Union and European Economic Area Countries. A lack of overarching standards and recognition of some of the specific needs of children reflected in training of physicians and nurses may lead to suboptimal care for children. There are, of course, many other professions that also contribute to primary care services for children, some of which are discussed in Chapter 15, but we have not had resources to study these to the same detail.

This chapter explores the role of postmodern intertextuality in Neil Jordan’s 2012 vampire film Byzantium. This intertextuality serves to place the film in dialogue with earlier vampire fiction, in particular the 1970s cycle of British and European erotic vampire films such as Daughters of Darkness and The Vampire Lovers from Hammer Films. Byzantium recalls these earlier texts structurally and thematically, both through direct reference and more oblique allusions.

While Fredric Jameson characterizes postmodern intertextuality as mere nostalgia and the imitation of ‘dead styles’, feminist postmodern theorists such as Linda Hutcheon contend argue for the political potential of postmodernism. This chapter proposes that the postmodern intertextuality of Byzantium is a critical intertextuality, and that the foregrounding of storytelling, writing, and rewriting in the film draws attention to the ways in which the intertextuality of Byzantium is not merely a return to past forms but also a reworking of them.

Taking up the work of Linda Hutcheon and Catherine Constable, this chapter demonstrates the ways in which Byzantium critically reworks aspects of earlier vampire fiction in order to critique and expand the representation of the female vampire and through this explore issues relating to female subjectivity and community.

Publishers are producing new reference sources on film at an astonishing rate. Each week reviews and advertisements appear to announce yet another book. Books vary in scope, subject emphasis, size, price, and of course, quality, and represent both new works and revised or added editions. Not only are American publishers active, but European firms are getting on the bandwagon, too.

Many individuals experience a sense of déjà vu when smelling a particular scent in the air or on hearing a name or words from the past. At times even the faintest scent or sound may evoke old memories and stir the senses. This is particularly true when the names of long‐ago television and radio programs are heard. Depending on one's age and the part of the country in which one lived, people born before the “baby boom” years (1946–1964) often feel a profound sense of nostalgia about such radio programs as Mr. District Attorney and Fibber McGee and Molly or the television shows Howdy Doody and Toast of the Town/Ed Sullivan Show. These early programs are considered part of the “golden age” of radio and television broadcasting.

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.

“While the majority of reported AIDS cases continues to be among white gay and bisexual men, the epidemic has forcefully spread to new populations. Between 1986 and 1989, reported AIDS cases among persons of color increased by 214 percent, among heterosexual IV drug users by 266 percent. The epidemic is also beginning to strike children in growing numbers.” (Dunn‐Mortimer, John. “Recommendations for Financing the HIV Epidemic in California.” Los Angeles: The California Association of AIDS Agencies, 1990.)

The emphasis of this survey is on motion picture reference material that has been published since 1982. This update does not, for the most part, include titles covered in a prior RSR article (1:4; 1983), written by myself, or in an even earlier article by Leslie Kane (7:1; 1979). In those few instances where titles that have appeared in the earlier RSR film surveys are discussed, it is because they now have a new subject emphasis.