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Purpose – The relationship of media influences and school shootings is analyzed on the background of an integrating metatheoretical framework, derived from socialization theory and a media appropriation model grounded in action theory.

Design/approach – Empirical findings and dynamic models of the significance of the media in the genesis of school shootings are integrated into the framework based on a review of the literature. Special focus is placed on the subjective functionality of the perpetrators’ prior media use, which is examined for its dependence on individual, cultural/societal, and interpersonal factors.

Findings – School shootings are a form of extreme violence where monocausal explanations fall short and cannot adequately account for the complex multifactorial causes of the phenomenon. However, we come to the conclusion that particular media do play a special role in the origination of school shootings, but in a way that can only be adequately comprehended if they are examined in connection with specific individual, socio-cultural, and interpersonal dynamics.

Originality/value – The chapter presents a conceptual frame within which possible relationships between media influence and school shootings are identified in the socialization contexts of the adolescent perpetrators.

The educational experiences of Black immigrant women in P-16 education are often understudied in critical scholarship about race, ethnicity, and gender. The existing literature on Black students in US higher education tends to overlook within-group diversity, oftentimes highlighting the experience of domestically born African Americans and neglecting the experiences of Black people born outside of the country. To address this gap in the education discourse, we examined the experiences of Black, African immigrant girls and women who have experienced all or part of their P-16 education in the United States. Using a combination of Critical Race Feminism (CRF) and transnationalism as our theoretical frameworks, we sought to answer two research questions: (1) How do Black immigrant women in the film describe their process of racial, ethnic, and gender identity formation? and (2) What are the literacy practices and educational experiences of Black African girls and women? Methodologically, we drew from Saldaña's (2009) model of film-based qualitative inquiry to analyze the documentary Am I: Too African to be American or Too American to be African? (directed by Dr Nadia Sasso). In our analysis, we foreground the lived experiences of eight women from three African countries: Nigeria, Sierra Leone, and Senegal. Major findings from this qualitative analysis include: (1) the importance of cultural negotiation for immigrant girls and women, (2) the presence of dualities in language and ways of speaking in education, (3) a tumultuous racial identity formation process, and (4) the linked perceptions of students' gender identity and beauty. Finally, we present implications for immigration policy, inclusive research, and equitable practice across P-16 education.

Cultural visibility is closely linked to physical and social mobility, and access to – or denial of – free movement through private and public spaces powerfully shapes individual and social identities. As Liam Kennedy has shown in the context of urban space, “the operations of power are everywhere evident in space: space is hierarchical – zoned, segregated, gated – and encodes both freedoms and restrictions – of mobility, of access, of vision” (2000, pp. 169–170). A consideration of how film articulates a relationship between space and identity might thus begin by breaking down the concept of space itself into three distinct yet interconnected areas of analysis: first, the notion of socially produced space, as shown in the work of Henri Lefebvre and others; second, the idea of audience space or the architectural space of the theater; and finally, the theory of film space or the space of the screen. Given this essay’s limited scope, the latter will be examined in more detail than the first two, but I would like to stress the underlying interconnectedness of the three. While, for example, formalist studies of film aesthetics may be just as valuable as in-depth studies of changing viewing habits, audience demographics, and exhibition technologies, film interpretation should strive to keep in view the variety of spatial formations and conditions that might come to bear on any particular visual text.

This article explores how the commentary of intermediaries – third-party entities that do not have direct economic stakes in the sales of goods – can contribute to the creation of new market categories comprising preexisting but neglected and undervalued goods. Specifically, I study how the Sundance Institute facilitated the creation of a market for independent cinema in the United States, suggesting that intermediaries create market categories by defining boundaries, generating criteria of evaluation, and setting standards for measuring and establishing hierarchies of quality, which help audiences understand and value the category. The study, thus, adds nuance to our understanding of markets and categories.

This study focuses on how the creation of a new market identity, defined here by the social categories that specify what to expect of products and organizations, helps legitimize normatively illegitimate products and thereby facilitate the formation of markets for these products. A product is given a legitimate market identity by recombining existing product and status categories in a way that is both isomorphic with and differentiated from these preexisting categories. I argue that the creation of a new market identity helped create a market for feature films that combined legitimate comedy and illegitimate pornography following the legalization of pornography in Denmark in 1969. Topological analyses of the cultural content of all the film posters used to promote Danish films between 1970 and 1978, and regression analyses of the status of the actors appearing in these films document the importance of market identity in legitimizing illegitimacy.

In the 1988 film The Accused, a young woman named Sarah Tobias is gang raped on a pinball machine by three men while a crowded bar watches. The rapists cut a deal with the prosecutor. Sarah's outrage at the deal convinces the assistant district attorney to prosecute members of the crowd that cheered on and encouraged the rape. This film shows how Sarah Tobias, a woman with little means and less experience, intuits that according to the law rape victims are incredible witnesses to their own victimization. The film goes on to critique what the “right” kind of witness would be. The Accused, therefore, is also about the relationship between witnessing and testimony, between seeing and the representation of that which was seen. It is about the power and responsibility of being a witness in law – one who sees and credibly attests to the truth of their vision – as it is also about what it means to bear witness to film – what can we know from watching movies.

This chapter examines the relationship between news media in Cinema Novo films to underscore the impact of their shared discourse on the history of Brazilian films.

The author discusses the emplotment of news media within representative Cinema Novo films whose narratives speak to an ongoing debate concerning the role of print and televisual journalism in the increasingly repressive political environment of the military dictatorship installed in the 1960s. Interpretations on the level of film narrative, of specific scenes, and of shot and shot-sequencing contribute to the discussion, situated within the broader historical context of the established laws and commissions of 1960s Brazil.

Together, the analyzed films’ various interventions in Brazilian cultural and political history offer a complex representational fabric simultaneously constituting and critiquing national discourse.

The present research is limited to films of the 1960s but has implications for the interpretation of many Brazilian films and for Brazilian film history writ large. The overlap of film and news media is abundantly evident in the films of the Retomada and New Millennial Brazilian Cinema, but they do not fit within the scope of this chapter.

This analysis discusses a major canonical film (Entranced Earth) alongside lesser-known films (Threatened City, Freedom of the Press). When considered together in the light of their shared reflections concerning news media, these films bring up previously underexamined issues within the respective fields of Communication Studies and Brazilian Film Studies.

This chapter draws together three strands of literature on clustering, entrepreneurship and international business, and examines the relationships between these three phenomena in promoting firm formation and growth within clusters. The evidence drawn on includes econometric models based on the unique International Trade in Services Film and Television dataset, an indepth interview survey and other questionnaire survey data. The key conclusions are firstly that strong clusters promote entrepreneurship, which in turn promotes cluster strength in a self-reinforcing manner. Secondly, some firms are better able than others to benefit from cluster locations due to their superior firm competencies and absorptive capacity. Thirdly, cluster strength and internationalisation are mutually reinforcing. Cluster strength contributes to the ability of entrepreneurial firms to expand overseas via export sales, licensing and FDI. Evidence is presented that indicates firms have a greater intensity of export and import activity if they have resource strengths, some of which are derived from their membership of a strong cluster. Strong clusters also attract multinational firms and in the case of the London media cluster, although those multinationals appear somewhat less embedded than non-multinational enterprises (MNEs), they are nevertheless quite strongly embedded. This means that there is a second important cluster feedback loop as spillovers from MNEs to local firms enhance cluster strength, which attracts further multinationals. The acquisition of high performing firms by overseas MNEs does not appear to have reduced either their performance or their embeddedness in a cluster. Fourthly, the nature of internationalisation strategies is conditioned by firm and industry characteristics. In particular, the extent to which tacit knowledge is embodied in a product emerges as being influential in terms of decisions on which internationalisation mode to use. Finally, the resource-based view of the firm emerges as a useful integrative framework for understanding the interplay between clusters, entrepreneurship and internationalisation strategies.

The chapter contends that although Israeli reality is replete with legal issues, very few films deal directly with the law or with a legal process as a central theme. Contemporary Israeli films are not very different from the early Israeli films in their embracement of a national heroic narrative, which typically leaves very little space for legal issues. The chapter demonstrates the absence of law from Israeli cinema by looking closely at war films, which are probably the most popular and influential Israeli films. War films reflect and in the same time participate in the construction of the Israeli collective consciousness, wherein the army experience is central. Tracing the way in which law is presented (or lacks representation) in them may shed light from a new angle on the role of law in shaping social and political norms in Israel.