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Films are arguably one of the most influential phenomenon of modern society. They are remarkable and effective means of conveying stories and influencing humans. Films are one of the most important factors that motivate people to travel to a destination. This chapter will explore the phenomenon which is widely known as film tourism and its role in tourist experience. To gain a better understanding of film tourism experiences, this chapter presents key concepts and analyzes existing studies. The analysis investigates important aspects of film tourism experience, including experience satisfaction and storytelling. It tries to highlight how films can influence tourist experiences beyond the travel itself, with a strong emphasis on the role of storytelling and film tourism experience satisfaction. To help readers achieve a clearer and more detailed understanding of the unique and dynamic nature of film tourism experiences, this chapter provides an overview of the tourist experience by conducting a comprehensive literature review on the subject. By doing this, this chapter proposes a new framework of film tourist experience satisfaction while describing the relationship between influential factors such as previous film experiences, motivation to visit a destination, destination expectations, on-site destination experience, and tourist involvement. Finally, conclusions are drawn presenting storytelling as a contemporary approach in the domain of film tourism experiences.

Moving images represent a category of material which has historically received short shrift in most libraries and archives. Film, video, and now digital images form a significant part of many library and archival collections, however, and can be found in many formats and genres. Despite the ubiquity of such media in cultural institutions, the majority of libraries and archives owning collections of moving images have neglected these holdings—with the specific exception of those few archives devoted primarily to the care and preservation of moving images.

Various law and film scholars have noted that the judge occupies the place of a marginal figure in ‘legal cinema’ and in related scholarship. In this chapter I want to engage with the debate about the representation of the judge in film by way of an examination of a South African documentary, ‘Two Moms: A family portrait’ (2004). In the first instance this ‘family portrait’ appears to be neither an obvious candidate for inclusion in the canon of ‘legal cinema’ nor a film with a plotline dominated by a judge. But from this rather unpromising start this chapter explores how a film about an ordinary family made up of extraordinary people is an extraordinary film about law in general and about the figure of the judge in particular.

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.

From Dr No in 1962 to Spectre in 2015 the opening themes for James Bond movies have always played an important role in marketing, audience expectation and reception. Whether instrumental or sung, brassy or orchestral, upbeat or mellow, the music and/or lyrics, alongside innovative title sequences, function as key signifiers of gender representation in the ongoing series of spy adventures. Bond’s suave machismo, for example, is immediately set out in the opening titles for Dr No created by Maurice Binder. The iconic image of Bond viewed through a gun barrel as a shot rings out, is punctuated by Monty Norman’s theme music with its swinging brass and the tough, machine-gun like sound of electric guitar being played fiercely with a plectrum. Although this theme became synonymous with the character, there was a shift towards songs written specifically to tie-in with subsequent film titles although the lyrics rarely had anything to do with the narratives of the film. The title sequences themselves also became more provocative, invariably focussing on silhouetted, naked or semi-naked female bodies or their component parts alongside gun barrels and bullets, albeit in a highly stylised and artistic manner. This chapter, then, will consider how the theme music functions with the opening credits sequences in relation to the representation of women, race and the image of Bond himself and how the character has changed over time.

This chapter presents a historical analysis of how rural and small libraries have traditionally used nontheatrical film, including a discussion of how bookmobiles presented these materials to persons in broader service areas. After establishing the entertainment and educational benefits patrons historically received from the screening of these materials, the author transitions to discuss how recently established regional film archives and other organizations have made significant strides in recent years in preserving motion pictures that document local and regional culture. The chapter concludes with an analysis of how rural and small libraries can work with regional motion picture archives to design screenings and other programs that fulfill traditional roles of entertaining and educating patrons while also reaffirming local cultural identity.

Summative research and archival sources provide the foundations for the discussion of the role and purpose of film in rural and small libraries. Specific libraries and collections serve as case studies.

• Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

• Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

• Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Numerous scholars have published studies on regional and local nontheatrical film in recent decades, but relatively little has been written to connect these films with their value to rural public libraries and their constituents. By beginning with a historical analysis of how films have traditionally been of value to these audiences, the author is able to transition to presenting ideas on how nontheatrical works can continue to be of value in rural contexts. This has practical applications for rural libraries and other rural cultural organizations throughout the United States.

Since the 1990s, Charlize Theron has appeared in films from a wide range of genres but has seen significant financial success from starring in action films, such as Mad Max: Fury Road (2015) and Atomic Blonde (2017). However, unlike some female action leads, she has not solely been defined or pigeonholed by these roles but has been able to transition between action roles and more ‘respectable’ dramatic roles, as well as the other conventions of female celebrity, such as being the face of advertising campaigns for perfume brands.

Theron has notably received several physical injuries during filming, such as breaking her teeth practising fight choreography during the production of Atomic Blonde. These injuries have frequently been added as part of the publicity campaign for the films and Theron's star image overall as signs of ‘authenticity’, leading these action films a sense of increased legitimacy. Tasker states that a female action star's ‘[public] formulation is indicative of the uncertainties generated by her image’ (1993, p. 14). Media attention is divided between focusing on Theron's physicality, both in the sense of the traditional Hollywood gaze and in terms of Theron's molding of her marketable image. Theron has managed to succeed as both a mainstream star and an action heroine. This has enabled Theron to transition between genres and franchises such as The Fate of The Furious (2017), and an Oscar-nominated dramatic role in the biopic Bombshell (2019).

This chapter will unpack the public persona of Charlize Theron as an action film star, exploring both the filmic texts and the presentation of Theron's often complicated and contradictory image in the media.

This study compares filmic and televisual representations of fictional black presidents to white Americans’ reactions to the advent of the United States’s first African American president. My main goal is to determine if there is convergence between these mediated representations and whites’ real-world representations of Barack Obama. I then weigh the evidence for media pundits’ speculations that Obama owes his election to positive portrayals of these fictional heads of state.

The film and television analyses examine each black president’s social network, personality, character traits, preparation for office, and leadership ability. I then compare the ideological messages conveyed through these portrayals to the messages implicated in white Americans’ discursive and pictorial representations of Barack Obama.

Both filmic and televisual narratives and public discourses and images construct and portray black presidents with stereotypical character traits and abilities. These representations are overwhelmingly negative and provide no support for the argument that there is a cause–effect relationship between filmic and televisual black presidents and Obama’s election victory.

Neither reel nor real-life black presidents can elude the representational quagmire that distorts African Americans’ abilities and diversity. Discourses, iconography, narratives, and other representations that define black presidents through negative tropes imply that blacks are incapable of effective leadership. These hegemonic representations seek to delegitimize black presidents and symbolically return them to subordinate statuses.

This chapter examined portrayals of the morality of organizations using the lens of Western films. The work explored six decades of film, analyzing the organizational contexts and their agents, in order to understand filmmakers’ and audiences’ perceptions of organizational settings. In order to examine the organization as an entity within film, this chapter provided a content analysis of plot summaries from a purposefully selected body of top grossing box office films spanning 60 years. The plot summaries constituted a strong basis for identifying the characteristics of the organization as they are largely descriptive in nature and as such do not offer any evaluation or analysis of the film. Any assumptions about the character of organizations (or their members/employees) are unconscious, and as such they constitute a verbal description of what competent observers would say has occurred within the film. The plots were coded to reveal perceptions of positive, neutral, or negative organizational contexts and actions. This approach exposed the filmmakers symbolic placing of the organization in order to provide backdrops for the narrative. The plot analysis revealed that throughout the decades there has been a sophisticated portrayal in film of the role of the organization and the agents therein. A generally negative view of organizational contexts was demonstrated, with only religion and education shown as positive within the films selected. It was recognized that there would be value in extending this research to analyze a larger body of works. The selection criteria resulted in a wide but not comprehensive corpus of film genres. The body of works was sufficient to reveal the complexity of attitudes to organizational values and delivery which has evolved through time. Different selection criteria and more substantial narrative text could serve to confirm these results. Further implications for future research were discussed. While in the real-life sphere, there has been an emphasis on organizational standards and “corporate governance” delivering ethical exemplars, the film contexts highlight the complexities of delivering trusted organizations. The reality that there remains the potential for organizational corruption is well understood by the general public and clearly depicted within the film world. The conceptual contribution is original as limited work has been conducted on the organizational context in films. This work revealed the possibility of using this approach to further develop a greater understanding of perceptions of organizations.