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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.

A feature of specialised film production in the last few years has been the move made by a few major industrial film sponsoring organisations to transform their internal film units into production companies catering for other sponsors besides the host company. British Rail made this change with British Transport Films — although the new policy has kept the unit still working within the transport field. ICI, in creating Millbank Films as the successor to ICI Film Unit, have undertaken a similar move and, whilst the bulk of the unit's output has been concerned with different aspects of ICI's public relations and commercial interests, the latest series of films to be produced has introduced a significant newcomer to management film making. In this instance Millbank Films has cooperated with Sheppard Moscow and Associates Ltd, management consultants, in the production of a film series with associated publications designed for use in management training, and the films themselves are being distributed by Guild Sound and Vision, one of Britain's three major industrial film libraries with a rapidly expanding catalogue of management training material.

The purpose of this paper is to report the development and validation of a scale for measuring “post-series depression” (PSD), a concept that describes the feelings of melancholy and longing that can occur when an individual’s all-consuming film or screen product comes to an end. Although largely ignored by academic research in the arts and leisure (A&L) domain, PSD has received wide coverage in grey literature concerning the termination of certain film or TV series.

Exploratory interviews were conducted with fans of a range of A&L products. Questionnaire surveys then examined the relationships between PSD, nostalgia and emptiness, and between PSD, binge-watching and compulsive consumption.

A 15-item scale to measure PSD was developed and its reliability demonstrated.

The study was conducted within an A&L context. It only examined the abovementioned variables and no other potentially relevant psychological and behavioural considerations (e.g. audience involvement, narcissism and social anxiety).

The scale will be useful for investigating the marketing implications of fanship and its connections with addictive behaviour. It will help marketers when segmenting A&L markets, in understanding how to extend the period during which audiences purchase screen product-related memorabilia and to know how to market binge-watching-related items (e.g. box sets, clothing, books, theatre tickets and film studio visits).

This paper provides a rigorous examination of the concept of PSD and presents a scale for its measurement.

The Jason Bourne series of films (2002–2016) are widely acknowledged with helping to successfully re-invent the action thriller genre in the 2000s by focusing more on motivation and plot than over-the-top spectacle. Featuring a profoundly wounded son figure in the titular character, the films are indicative of an awareness of the vulnerabilities and reactions of a fatherless masculinity within a post-Cold War political reality.

This chapter will argue that Bourne's onscreen pain and subsequent violent responses to his various narrative predicaments are a result of being repeatedly betrayed by a series of older males, in many cases, father surrogates. Bourne's experience of this paternal disruption and betrayal is the key psychological motivating factor, with the films and the story arc of the character only being resolved when both he and the audience finally discover and reconcile the role that his biological father played in shaping his destiny and his life. This ‘father hunger’ – in effect a need for a continuative masculinity – that Jason Bourne experiences, and that is arguably at the heart of the franchise, will be analysed and explored within the contexts of post-Jungian screen theory. Alongside the deliberately casting of ‘quality’ actors (such as Brian Cox, Joan Allen, Tommy Lee Jones, David Strathairn) and other formalist elements of the text, archetypal energies and symbolism are also rife throughout the film, and can be, in part, credited with the critical and commercial success of the films. Finally, the films are put in their cinematic context in terms of the influence they subsequently exerted on other action film franchises – particularly James Bond (1962 to present).

Purpose – This chapter analyzes how various gender discourses transmitted through mass media such as television form discourse competition and conflict today as China is confronting cultural globalization. In that context, a wave of consumerism and nostalgia for cultural tradition become two of the key factors that shield patriarchy and resist feminism.

Method – Quantitative and qualitative responses of Chinese university students to video productions from South Korea and the United States are studied, compared, and contrasted by using survey and focus group discussion methods.

Findings – Women and men students show preference for different types of televised and film entertainment. Both respond to the gender discourses depicted, seeing in them models for behavior and fashion. The independence and sexual freedom reflected in TV series from the United States is seen by many as less applicable to the Chinese context than the idealized traditionalism of the Korean series.

Social implications – Global culture provides alternative and competing gender discourses, which can lead to social change or to nostalgia for an idealized tradition in the face of change. To the extent that both women and men adopt the male gaze, patriarchal culture is strengthened, not challenged in the process.

Although British industry and British film producers have now made some masterly incursions into the field of management training film production there are still some things they can learn from the Americans. This is most noticeable in the case of a film series built around the written works of a management consultant and featuring the consultant himself as one of a cast of a dramatised production. The series ORGANISATION RENEWAL, inspired by Gordon Lippitt, is a case in point. This series consists of five films dealing with background problems associated with changing the structure and practices of a viable organisation, the dynamic situation engendered in a group, the concept of teamwork and problems associated with coping with change.

The Central Film Library has recently published new 1968–69 editions of its ‘Main Catalogue,’ price 6s (post free), and its ‘Films for Industry Catalogue,’ price 4s 6d (post free). Both are indispensible works of reference for all serious users of film in the fields of teaching, technology and trade — whether they be managers, operatives or trainees or whether their interest lies in aircraft or arts, ceramics or ceremonial occasions, sports or safety, workshop practice or war. The ‘Films for Industry Catalogue’ has one very interesting innovation; it now lists a number of films produced by BBC Television within the last couple of years. Six series of those black and white tele‐recordings may be of particular interest to readers of Technical Education and Industrial Training.

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.

INDIVIDUAL SPECIALISTS IN CONSULTANCY WORK AND THE publication of their theories and observations have made the most significant contribution to modern management prac‐tice. With effective communication in mind it has not been surprising that some have resorted to film (or been encouraged to do so by film sponsors and producers) to spread their message further. Unfortunately many of the results have been lamentable: the expert delivering a series of lectures recorded pedantically and unimaginatively on film without even the relief of actual or dramatised illus‐tration. Whatever limited value such productions have is confined to providing a visual and aural record of some expert (and occasionally a notable pioneer) in management practice. Their value for management training seems practically nil.

The purpose of this paper is to discuss the extent to which film locations affect the decision making of tourists and overall attractiveness of film locations as tourist destinations.

The paper explores the relative appeal of fictional and authentic film locations with reference to the literature and film case study examples.

Arguably, the attractiveness of an actual location shown in a film is greater than a location portrayed by a film, and when tourists do visit film locations in considerable numbers, the impacts are not always beneficial.

The paper uses examples to explore the scope and related impacts of film‐induced tourism.

The paper draws on a wide range of examples to highlight the implications of fictional and authentic locations in films.