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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.

Unlike Joss Whedon's cult series Buffy the Vampire Slayer (1997–2003), Angel (1999–2004) and Firefly (2002–2003), Dollhouse (2009–2010) is largely considered to be both a critical and commercial failure. Dollhouse is often dismissed as Whedon's worst television series, with critics citing their discomfort and disgust in watching hero Echo's (Eliza Dushku) repeated exploitation. Unlike other popular acclaimed TV series featuring a female action hero like Xena: Warrior Princess (1995–2001), Alias (2002–2006) and Nikita (2010–2013), the hero of Dollhouse is not empowered from the series' outset, but rather she slowly comes to her power and agency due to various traumatic and violent experiences. This chapter argues that Dollhouse stages a reworking of the cinematic female action hero figure by delaying empowerment and forcing the audience to linger in the hero's lack of agency. Dollhouse enables an unpacking of the female action hero popularised in films like Terminator 2: Judgement Day (1991), Long Kiss Goodnight (1996), The Fifth Element (1997) and the Alien franchise (1979, 1986, 1992, 1997). By exposing the mechanics of hero-creation, Dollhouse forces viewers to consider how heroes are made and who is exploited in the process. As such, this chapter considers Dollhouse as an intervention into the female action hero film and television cycle through an analysis of how the series adheres to and subverts the tropes of the cycle.

A poem written by Brandon opens space on the literacy landscape for initiating an exploration of the boys' self-positioning in their literate narratives as comedic heroes. This space on the literary landscape outlines the ways in which characters in literature can be positioned when the plot of the story suggests distribution should occur. After exploring how characters function in literature, according to Frye (1957), it is easier to see how the boys use a similar self-positioning in their narratives when literacy is the boon – intended for distribution.The Moon, The Lake, and the LoonLily pads span the shore in a curtain of green,Accented by yellow flowers with watery sheen.In the heart of the lake floats the black speckled loon—guardian and ghost beneath the silver twilight moon.A sea of pine trees shield the outer world awayfrom this inner earth unchanged day by day.The lament of the loon pierces the heart and soul;capt'ring the body and mind beyond control.Leaving haunted beauty, wishing to be back soon.In the land of the moon, the lake, and the loon.(Brandon's in-class assignment, May 2009)

The presence of mature masculinity is slowly reshaping contemporary action cinema in the twenty-first century. It is a phenomenon that rejects the unrealistic view that action heroes are embodiments of Apollo and Ares in human flesh. Instead, action heroes are viewed as flawed characters who cannot escape the realities of their corporeality, mortality and humanity. The following chapter is an examination of a particular type of action hero archetype that combines ageing with virtuous and mature masculinity. Here I use Tom Cruise's development and portrayal of Ethan Hunt in the Mission: Impossible series as a lens through which to highlight the presence of the virtuous and mature hero archetype in action cinema.

Cruise's representation of heroic masculinity is significant because it achieves three separate goals. First, Cruise's mature masculinity repudiates the hardbody model by showing its deficiencies as a male archetype. Second, it introduces a version of an action hero that emphasises the benefits of ageing and mature masculinity. Lastly, Cruise's onscreen presence redoubles the idea that heroic masculinity is motivated by a deep sense of morality, duty and a desire to serve the greater good. As the model of the mature and virtuous hero becomes more prevalent, as I argue, it not only reshapes action cinema but also produces cinematic representations of heroic masculinity that are more positive in terms of showing the importance of maturity, virtue, and public service.

Prior work underscores the important role of customer advocacy for brands. The purpose of this study is to explore the critical role customers can play as brand heroes. The authors developed and validated a measurement scale composed of properties that are derived from distinct brand hero motivational mechanisms.

The authors conducted one exploratory pilot, using semi-structured interviews, with industry and academic experts, and employed three main studies across varying brands and market settings.

This study explores and empirically demonstrates how the brand hero scale (BHS) is related to, yet distinct from, existing scales of opinion leaders, market mavens, attachment and customer advocacy. The six-item BHS demonstrates convergent, discriminant, nomological and predictive validity across several different brand contexts.

This research extends the extant body of work by identifying and defining brand heroes, developing and validating a parsimonious BHS, and demonstrating how its predictive validity extends both to a range of key advocacy and loyalty customer behaviors.

The study provides provocative insights for marketing researchers and brand managers and ascertains the important role heroes may play for brands in terms of strong customer advocacy and loyalty behaviors.

Building on the theory of meaning, this study shows that identifying and working with brand heroes is of great managerial importance and offers critical avenues for future research.

The authors provide an understanding of how the hero identity is culturally constructed and evolving. The authors focus on heroism within an arts marketing framework through an interrogation of Northern Ireland murals. In this paper, the authors elaborate on the links between arts marketing thought and the notion of hero and draw conclusions around what the authors see as a fruitful area for arts marketing theory.

The authors have adopted a narrative approach, incorporating biographical method, visual analysis and ethnography in interpreting cultural murals. The authors assess representative examples in Northern Ireland using a thematic framework.

The murals the authors assessed have evolved from having a specific community focus to increasing numbers which now represent a “shared”, and therefore more modern version of the hero.

The authors identify an emerging, aesthetically balanced portrayal of cultural murals, with a different set of heroic priorities compared to the past, which should encourage further related research elsewhere.

Northern Ireland murals are no longer the preserve of specific communities and are now also shared spaces which appeal to both the local population and cultural tourists.

Although analysis and evaluation of political murals has been carried out in other disciplines, the authors add to the limited insight from an arts marketing perspective.

Employee boredom is of concern to organizations because of its impact on employees’ quality of work life and productivity. This study aims to test the regulation of workplace boredom through meaning in life by workplace heroes to contribute to theory by examining the relationships between the variables and to practice by uncovering the potential of workplace heroes in alleviating state boredom.

Using online surveys and structured interviews for a mixed-method study, data were collected for state boredom, meaning in life and hero affirmation at work for a quantitative study, and data from the open-ended questions provided further insights regarding hero affirmation at work for a qualitative study.

Spearman rank-order correlations concluded correlations between state boredom and meaning in life. However, unlike personal heroes that influence meaning in life, workplace heroes were found not to. The qualitative analysis revealed three prime differences between workplace and personal heroes: proximity, symbolic representation of ideologies and qualities admired in the heroes. These reasons entailed that state boredom was not regulated by workplace heroes.

The model of Coughlan et al. (2019) explored trait boredom regulation through meaning in life by personal heroes. This study tested for the regulation of state boredom through meaning in life by workplace heroes; thus, contributing to theory through a nuanced model with enhanced usefulness in practice. The study also further dissects the concept of heroes by uncovering differences between workplace and personal heroes that perpetrated the differences in the findings.

The purpose of this paper is to demonstrate heroism as an embodied system of leadership and well-being. Heroic leadership is presented as a baseline for sustainable futures and global health.

This paper presents an embodied reading of heroic leadership and its sustainable development across five stages. It outlines its core functions, its grounding in self-leadership through physical and mental trauma and its holistic benefits, resulting in the development of the Heroic Leadership Embodiment and Sustainable Development (HLESD) model. The efficacy of HLESD is demonstrated in an empirical case study of heroism promotion and education: the Hero Construction Company and the Heroic Imagination Project.

Heroic leadership is revealed as an emergent, dynamic and distributed form of sustainable development.

This paper demonstrates the critical connections between heroism, sustainability, embodied leadership and well-being and how they stand to benefit from each other, individuals and communities at large.

The implementation of HLESD in educational, counselling and broader contexts in consultation with a wide range of professionals stands to offer significant benefits to pedagogies, clinical practice, holistic therapies and twenty-first-century societies, at both the community and policy level.

The emerging field of heroism science and the use of heroic leadership as an interdisciplinary tool is a novel approach to well-being, which holds immense potential for the imagining and fostering of sustainable personal and collective futures.

In 2010, Hero Honda (HH), the largest global two-wheeler manufacturing company (based on unit sales), terminated its 26 year old JV with Honda, effective 2014. In August 2011, HH, rebranded itself as “Hero”, with a nationwide campaign across media; over three months, the campaign was rolled out on 30 TV channels, leading websites, 200 radio stations, and 4, 000 cinema halls. Signages were changed in 4, 500 touchpoints over a weekend. The case documents the market and brand position of HH and its principal competitors, Bajaj and Honda in India, the rationale for ending the JV, the rebranding requirements, and the actions taken. Pedagogically, we evaluate the rebranding effort to sustain, create, and build consumer memories and emotions.