Search results

In January 1996, an investment manager of a hedge fund is considering purchasing an equity interest in a start-up biotechnology firm, Rocky Mountain Advanced Genome (RMAG). The asking price is $46 million for a 90% equity interest. Although managers of the firm are optimistic about its future performance, the investment manager is more conservative in her expectations. She asks an analyst to fashion a counterproposal for RMAG's management. The tasks for the student are to apply the concept of terminal value, interpret completed analyses and data, and derive implications of different terminal value assumptions in an effort to recommend a counterproposal. Little computation is required of the student. The main objective of the case is to survey many conceptual and practical challenges associated with estimating a firm's terminal value. Issues addressed include the concept of terminal value; the materiality of the terminal-value assumption; the varieties of terminal-value estimators and their strengths and weaknesses; taxation of terminal values; when to assume liquidation versus going-concern terminal values; choosing a forecast horizon at which to estimate a terminal value; the constant growth valuation model, its derivation, limiting assumptions of constant growth to infinity, and WACC > g; use of the Fisher Formula as a foundation for estimating growth rate to infinity; and using a variety of estimates to “triangulate” in on a terminal value.

The purpose of this paper is to discuss the impact gendered media representations of entrepreneurs may have on the reality of female entrepreneurship. It analyses the representation of women entrepreneurs in a women ' s magazine. Media representations influence, firstly, whether women perceive entrepreneurship as desirable and attainable, and thus impact the strength and direction of their entrepreneurial aspirations. Secondly, media representations shape how key stakeholders such as bankers or clients view and interact with female business owners, thereby impacting women entrepreneurs’ business relations and opportunities.

The paper reviews research on media representations of women entrepreneurs, gender inequalities in entrepreneurial activity and work before presenting an in-depth qualitative analysis of a magazine series reporting on female entrepreneurs.

The authors’ analysis reveals how the woman ' s magazine in question portrays female entrepreneurship as focused on traditionally female activities and pursuits and as domestically-centred. Relating these findings to evidence on gender inequalities in entrepreneurial activity, the paper raises important questions about the impact of media representations of women entrepreneurs.

The paper demonstrates the benefits of understanding entrepreneurial activity as work and includes analytical perspectives from the sociology of work in the analysis of media representations of entrepreneurship.

Grave (English title: Raw), the 2016 feature film debut from French writer/director Julia Ducournau, is a body horror that explores cannibalism in a contemporary setting. A vegetarian student, Justine, develops cannibalistic desires after she is forced to eat rabbit kidneys in a hazing ritual at a veterinarian school.

This film portrays the female cannibal as having lost control of her bodily impulses. Justine displays a loss of cognition that results in involuntary actions when confronted with raw flesh. One can observe parallels in this portrayal and that featured in earlier films Dans ma peau (In my Skin, 2002, dir. Marina de Van) and Trouble Every Day (2001, dir. Claire Denis). These two films are identified with the early twenty-first-century French ‘cinema of the body’ trend, which involves disturbing and horrific portrayals of alienated protagonists, sexual debasement and transgressive urges.

In my exploration of the mind/body divide featured in Grave, I’ll argue that the film moves away from portrayals of the cannibal in the two earlier films, as we now observe a female protagonist who is actively engaged in meaningful relationships with others. As such, Justine seeks connection rather than disconnection from those around her, with varying levels of success.

This chapter explores the presentation of women's violence in Tamil mega serials. Tamil mega serials are produced in India and aired six days a week on satellite television channels. The story revolves around households with extended families living together and issues affecting women such as family well-being, motherhood and fertility. Women mostly take the role of the main protagonist and antagonist in Tamil serials. This chapter analyses the presentation of violence in 10 episodes of Chandralekha, a Tamil mega serial. Perpetrators of violence in Tamil serials are mainly female antagonists and other characters supporting the antagonists. The rivalry between the protagonist and antagonist centres around the struggle for property or the love of or marriage with a man. The type of violence ranges from mild to severe kinds of physical violence, and non-physical violence. The presentation of violence in Tamil serials reflects gender inequality in society. The meaning of some forms of violence in mega serials is closely related to the traditional gender roles and notion of traditional femininity in society.

Across different research fields, it is increasingly acknowledged that gender is not a binary variable and goes beyond the male–female dichotomy. At the same time, gender is a prominent social cue that affects evaluations and interactions among individuals. Thus, gender can impact social processes on many levels in complex ways. Meetings provide arenas where key social processes unfold that are relevant to the organization. Understanding which role gender takes in this context is therefore central to organizations as well as meeting research. This chapter provides a critical review of research to date on social influence in meetings, specifically zooming in on the role of gender. The authors conducted a multi-step systematic literature review and identified 43 studies across a wide area of disciplines (e.g., psychology, communication, and management). The authors put special emphasis on the methodologies employed across this work since a comprehensive understanding of the applied methods is core for a synthesis of research results. Through the analysis, the authors pinpoint six variables – individual gender, sex role orientation, gender composition, gender salience, contextual factors such as task type and organizational settings, and the construction of gender as a social concept – that are directly related to gender and which represent factors that are critical for the role of gender in the meeting context. Thereby, this chapter aims to provide a roadmap for researchers and practitioners interested in the role of gender during workplace meetings. The authors conclude by highlighting methodological and managerial recommendations and suggest avenues for future research.

Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions, intertwining the professional-plot western formula with a hero-lawyer variation on the classic western hero character, America’s 19th century archetypal True Man. In so doing, Anatomy revives the western genre’s honor code, embracing it into the hero-lawyer law-film. Concurrently, it accommodates the development of cinematic imagery of the emerging, professional elite groups, offering the public the notion of the professional super-lawyer, integrating legal professionalism with natural justice. In the course of establishing its Herculean lawyer, the film constitutes its female protagonist as a potential threat, subjecting her to a cinematic judgment of her sexual character and reinforcing the honor-based notion of woman’s sexual-guilt.

After completion of the case study, students will be able to learn, understand, examine and customize leadership styles per organizational culture; understand the conflict management styles of a female leader; and comprehend the organizational change process to devise an effective communication strategy.

Ever-changing business demands managers adopt organizational change in leadership styles, business processes, updated skill sets and minds. One must be ready to understand influential nurtured corporate culture and human resource resistance towards the inevitable change. This case study attempted to discuss the female protagonist dealing with an organizational conflict. The case study introduces one such protagonist from a century-old woman’s educational institution. Subsequently, this case study presents organizational change under the leadership of a female protagonist. This teaching case study gives the reader an insight into situational leadership, conflict management styles and the corporate change process by implementing an appropriate communication strategy. This case study describes the change process through the various decision-making scenarios that an academic institute over a century old faced during the post-pandemic crisis after adding a crucial protagonist. The employee union, followed by students and administrative employees, has challenged the dominating leadership position held by the college principal. Protests occurred due to the college administrator’s refusal to adjust her approach to leadership. This teaching case then provided different leadership styles of the current and old leaders. Finally, the case study lists the challenges a leader faces during turbulent times and the lessons a leader should learn from such situations while transforming the institute.

The teaching case benefits undergraduate students in business management subjects such as conflict management, leadership and organizational behaviour. Nevertheless, trainers can use this case study to teach seasoned managers and emerging leaders the significance of adopting and implementing change while understanding situational leadership.

Teaching notes are available for educators only.

CSS 10: Public Sector Management.

This chapter offers feminist perspectives on the violence exercised by female avengers in popular audiovisual products about narcotrafficking from Mexico and Colombia. Through the case studies of the narcotelenovela Rosario Tijeras (RCN Televisión, 2010) and the B movie Sanguinarios del M1 (Alonso Ortiz Lara, 2011), we explore how recent Latin American narco-narratives rearticulate the ‘rape-revenge’ film. Following Valencia's conceptualisation of necroempowerment (2012), we argue that female characters respond to rape with ruthless methods in an effort to regain agency. We combine existing literature in feminist film studies with postcolonial readings of the specificities of rape-revenge in the narco-universe where the violence these heroines use as retaliation is already the norm for their male counterparts. A close reading of revenge sequences underscores how vengeance can constitute a cathartic outlet for enraged female characters, challenging stereotypes of feminine passiveness and subverting gender hierarchies. However, it also perpetuates a patriarchal order based on toxic ideals of individual power achieved through bloody methods. We examine how empowerment can entrap female protagonists and serve to differentiate the types of violence that each gender has access to, and we discuss the problematic representation of rape as a transformative moment necessary for women to later become powerful.