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Journalists construct a public image through each of their produced texts. Regarding cinema journalism, the feature stories are the result of multiple semiotic relationships established between the cinematographic products, the artists involved with the cinema production, and the possible expectations of the readers related to the journalistic texts, as well as viewers of the films and the depicted artistic contexts. A semiotic analysis of a feature story on the documentary Todos os Paulos do Mundo, written by the journalist Luiz Carlos Merten, reveals the construction of what semiotics calls signic actions. Such actions recover the film creation process and its produced meaning related to contemporary Brazilian production of cinematography.

According to Yubin et al. (2023), films serve as a medium for conveying visual representations of various elements such as landscapes, buildings, landmarks and monuments, which provide a contextual backdrop for the narrative. According to Vila et al. (2021), the number of global tourists visiting film locations exceeds 80 million. In addition, according to Yubin et al. (2023), the promotion of tourism is facilitated through the utilisation of films, which serve to create novel representations, counteract negative perceptions and enhance the portrayal of underdeveloped destinations. A significant number of individuals engage in the practise of visiting movie sets with the intention of re-experiencing the emotional impact of the film. The devaluation of film marketing has been observed. This method represents a highly indirect approach to enticing tourists. This chapter examines the comprehension of travellers' motivations and the perception of film-exposed locations in Bollywood films (Salnick, 2023). Film tourism provides a tailored and personalised experience for individuals. The difficulty in measuring this concept arises from factors such as the emotional responsiveness, personality traits, background and interpretive abilities of the viewers in relation to media images. According to Castro et al. (2023), the inclusion of a destination on a screen can serve as a means to enhance the diversity of a site's tourist offerings or mitigate the effects of seasonality by providing opportunities for experiential activities, showcasing notable landmarks or serving as a filming location. Film destinations have the potential to gain popularity and benefit from advertising and the perception of spectators.

International outbreak of the SARS-CoV-2 infection has fostered the Italian government to impose the FFP2 protective facial masks in closed environments, including bar, restaurants and, more in general, in the food sector. Protective facial masks are rocketing, both in mass and in costs, in the food sector imposing efforts in fostering reuse strategies and in the achievement of sustainable development goals. The scope of the present paper is to depict possible strategies in manufacturing and reuse strategies that can reduce the carbon footprint (CF) of such devices.

To implement circular economy strategies in the protective facial masks supply chain, it was considered significant to move towards a study of the environmental impact of such devices, and therefore a CF study has been performed on an FFP2 facial mask used in the food sector. Different materials besides the mostly used polypropylene (PP) (polyethylene (PE), polycarbonate (PC), poly (lactic acid) (PLA), cotton, polyurethane (PUR), polystyrene (PS) and nylon 6,6) and different sanitisation alternatives as reuse strategies (both laboratory and homemade static oven, ultraviolet germicidal irradiation) readily implemented have been modelled to calculate the CF of a single use of an FFP2 mask.

The production of textiles in PP, followed by disposal was the main contributor to CF of the single-use FFP2 mask, followed by packaging and transportations. PP and PE were the least impacting, PC, cotton and Nylon 6-6 of the same weight results the worst. PLA has an impact greater than PP and PE obtained from crude oil, followed by PUR and PS. Static laboratory oven obtained an 80.4% reduction of CF with respect to single use PP-made FFP2 mask, whereas homemade oven obtained a similar 82.2% reduction; UV cabinet is the best option, showing an 89.9% reduction.

The key strategies to reduce the environmental impacts of the masks (research for new materials and reuse with sanitisation) should ensure both the retention of filtering capacities and the sanitary sterility of the reused ones. Future developments should include evaluations of textile recycling impacts, using new materials and the evaluation of the life cycle costs of the reused masks.

This paper intends to provide to stakeholders (producers, consumers and policy makers) the tools to choose the best option for producing and reuse environmentally friendly protective facial masks to be used in the food sector, by using both different materials and easily implemented reuse strategies.

The reduction of the CF of protective facial masks in the food sector surely will have relevant positive effects on climate change contributing to reach the goals of reducing CO₂ emissions. The food sector may promote sustainable practices and attract a niche piece of clients particularly sensible to such themes.

The paper has two major novelties. The first one is the assessment of the CF of a single use of an FFP2 mask made with different materials of the non-woven filtering layers; as the major contribution to the CF of FFP2 masks is related to the non-woven textiles manufacturing, the authors test some other different materials, including PLA. The second is the assessment of the CF of one single use of a sanitised FFP2 mask, using different sanitation technologies as those allowed in bars or restaurants.

This paper aims to describe a case between practitioners and social marketing academics to grow and scale a programme that engages with primary schools, teachers, children and the education network, inspiring students to become marine leaders and ocean champions.

Over a six-year period, the authors first applied collective intelligence to work with stakeholders across society to better understand the barriers and solutions to teaching children (6–12 year olds) about the ocean in schools. Following this, a Collective Impact Assessment of the Explorers Education Programme took place to grow the impact of the programme.

The Explorers Education Programme has grown its numbers higher than pre-pandemic levels. In 2022, the Explorers Education Programme had the largest number of participating children, reaching 15,237, with a growth of 21% compared to pre-pandemic levels in 2019 and 79% compared to 2021. In 2023, the programme won the “Best Education Outreach Award” category of the Education Awards in Ireland.

This research stresses the importance of measuring impact. The long-term impact of the Explorers Education Programme at societal, environmental and economical levels takes a much longer time frame to measure than the six years of these research collaborations.

The collaborative approach between academics and practitioners meant that this research had practical implications, whereby necessary and effective changes and learnings could be directly applied to the Explorers Education Programme in real time, as the practitioners involved were directly responsible for the management and coordination of the programme.

The value of collaborations and engagement between academia and practice cannot be underestimated. The ability to collectively reflect and assess impact moves beyond “an” intervention, allowing for more meaningful behavioural, social and system changes for the collective good, inspiring the next generation of marine leaders and ocean champions.

The purpose of this paper is to engage readers with Unity Productions Foundation (UPF) films, which provide a powerful, inspirational digital tool for teachers. The organization's mission is to create documentaries, films and educational materials that contribute to bringing to light compelling stories of Muslim engagement through history and culture. UPF films and educational projects aim to promote peace and understanding to increase cultural pluralism and counter bigotry in our world.

Teachers will be able to utilize the resources provided in this paper to harness the power of media in their classrooms. Outlining the process by which teachers can follow the C3 inquiry using the film Prince Among Slaves will prepare teachers to see the alignment of the C3 Framework with their teaching. The “best practice” classroom strategies in structuring deliberations are ones that encourage students to fully participate and emphasize their voice.

This paper will unpack the practice methods that address the film Prince Among Slaves to be of benefit when sharing narratives through digital film and engage students in critical thinking through the C3 Framework. UPF films are the product of scholarly research and innovative production teams as the films provide the opportunity to visualize and explore multiple perspectives to understand historical content by providing a context for inquiry teaching and learning that is inclusive through deliberative discussions in the classroom.

The author certifies that this manuscript submission is original work and that all authors were involved in the intellectual elaboration of the manuscript and all parties have been acknowledged.

In this article, we discuss an innovative audience research methodology developed for the AHRC-funded “Beyond the Multiplex: Audiences for Specialised Film in English Regions” project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.

This paper constructs a tripartite evolutionary game model between the government, the core enterprises of film copyright export and imports and uses the system dynamics model to simulate and find the optimal selection results of single and mixed government incentives under dynamic changes, aiming to promote the development of foreign trade of film copyright and innovation and development of the film industry so as to improve the overall social benefits of the film industry and provide policy enlightenment for enhancing the import power of foreign core enterprises to introduce domestic film copyrights.

In this paper, a tripartite evolutionary game model of the government, the core enterprises of film copyright export and imports is constructed, the evolution process of cooperation strategy is derived, the impact of innovation income coefficient, mixed incentive policy and single incentive policy on the evolution results is analyzed, and the system dynamic model is used to simulate to find the optimal selection results of single and mixed government incentives under dynamic changes, so as to provide reference for the government’s dynamic incentive decision-making.

The results show that export-oriented core firms are more sensitive to mixed incentives, while import-oriented core firms respond more quickly to single incentives. The large innovation income coefficient has a negative impact on the willingness of import-oriented core enterprises to cooperate. The study proposes measures to increase the willingness of core companies to participate.

Due to the fact that numerical simulation is based on simulation, there may be a certain gap between it and the actual situation. Therefore, it is necessary to further use actual data to conduct empirical analysis on the theoretical model.

This article mainly focuses on analyzing the impact of strategy choices and related parameters of various entities on the incentive mechanism and studying the foreign trade cooperation strategies of film copyright export enterprises under policy support from a theoretical model perspective. Furthermore, research has proven that in order to effectively enhance the willingness of foreign import core enterprises to participate in the foreign trade of domestic film copyrights, the government needs to coordinate the use of single incentive policies and mixed incentive policies. This study provides a major contribution for policymaker to develop film copyright import and export trade.

Based on the research conclusions, this paper puts forward management countermeasures to further improve the development of the film copyright import and export trade. The first is to enrich government incentive methods and stimulate the vitality of film copyright and foreign trade market entities. The second is to guide the core enterprises of film copyright export to increase investment in innovation and stimulate the endogenous driving force of industrial development. Finally, lengthen the foreign trade industry chain of film copyright and increase the income of film derivatives.

Firstly, this paper applies the research methods of evolutionary game and system dynamics simulation to the field of foreign trade research on film copyright and expands the research perspectives and methods of the film industry. Secondly, by analyzing the “cost-benefit incentive” relationship of the evolutionary game of government export-oriented core enterprises and importing core enterprises, an evolutionary game model is constructed, the quantitative point of tripartite interest decision-making is solved and the research object of the evolutionary game method is expanded. Finally, the system dynamics model is used to simulate and find the optimal selection results of single and mixed government incentives under dynamic changes, so as to provide reference for the government’s dynamic incentive decision-making.