Search results

The purpose of this paper is to examine the potential benefits as well as some of the practical barriers to the implementation of a collective impact initiative in law enforcement and public health (LEPH) in Tasmania, Australia.

The paper is based on a review of programs, agencies and initiatives that are at the intersection of LEPH in Tasmania, through an analysis of the findings in evaluation reports, and the views of practitioners identified at a workshop on LEPH held at a national AOD conference and facilitated by the authors.

The strengths of collective impact initiatives, particularly in LEPH, are presented and some weaknesses identified. Some major obstacles to the consolidation of LEPH initiatives include siloed ways of working and budgets, lack of leadership and political will. Some progress has been made in addressing these weaknesses, although addressing complex social problems by moving beyond inter-agency collaboration toward an integrated model of service provision remains challenging.

The authors argue that there are practical benefits to the adoption of a collective impact model to address problems in Tasmania that lie at the nexus between LEPH. In reviewing existing collaborations, the authors demonstrate the value of a structural mapping process to identify ways forward for government and non-government agencies that are inclined to go further in merging the two disciplinary areas. The authors offer some suggestions with respect to identifying the preconditions for a collective impact model and how to build on these to initiate action.

A significant proportion of the literature on LEPH remains at a conceptual and theoretical level. This contribution highlights some practical issues while looking at existing examples of collaboration across LEPH at a state level in Australia, and starts mapping a way forward for constructing more integrative LEPH initiatives.

Working at the University of Liverpool alongside Julia Hallam and Lisa Shaw, and in the Department of Music, are Sara Cohen and Jacqueline Waldock. Both Sara and Jacky have led projects that engage with and support local organizations and communities, and examine music from the perspective of those involved. In fact, it was their shared interest in how ‘ordinary’ people engage with and experience music in everyday life that prompted them to join forces in 2014, and start working together on community engagement projects. At the same time, they have brought to these projects their own individual research interests and expertise. In this chapter, we discuss their recent collaboration on a project that explores the use of music to improve the wellbeing of older people in the UK, including people living with a dementia-related cognitive impairment and in nursing homes and health-care settings, and those who live independently but are cared for at day-care centres run by voluntary and community-based organizations. We situate this project within a selection of UK music initiatives or ‘interventions’ aimed at helping those living with dementia and age-related memory loss, and outline how specific projects informed our own approach and work.

This chapter explores three different Cinema, Memory and Wellbeing pilot projects, two of which were carried out in Liverpool and the other in Petrópolis, a city of comparable size in the state of Rio de Janeiro, Brazil. It begins by discussing our motivations for developing these projects and how we drew on our previous research relating to films and cinema-going. It then presents the three different projects, showing how each was tailored to the care context in question (a residential nursing home and a day-care centre on Merseyside, and a GP practice in Brazil), explaining how they were conducted and discussing the results, with a view to informing and improving future initiatives of this type. We also show how our findings have shaped the creation of the ‘best-practice’ toolkit designed to enable activities coordinators, carers and health professionals to optimize the benefits of using films to stimulate memories and reminiscence and promote an improved sense of wellbeing among older people and those living with dementia. (This toolkit is available to download from the Emerald website in English: https://books.emeraldinsight.com/page/detail/Selfies/?K=9781787437173). We recount in detail our practical experiences of setting up and running screenings in diverse environments, how we set about trying to ‘measure’ or at least gather some tangible evidence of the wellbeing benefits of these events, and provide numerous examples of the reminiscences that they generated, as well as the feedback on the projects that we received from both the people who participated and the people who care for them.

Wesley Snipes has had an extensive career on the big screen starting out as part of the New Black Cinema movement in the 1990s working with Spike Lee and Mario Van Peebles. His roles have been incredibly varied covering drama, comedy, action, thriller, horror and Science Fiction: he has played everything from jazz saxophonist to paraplegic and drag queen to vampire, as well as recently appearing as character actor D'Urville Martin in Eddie Murphy's critically acclaimed Dolemite Is My Name. However, despite his versatility as an actor and his popularity in action films such as Demolition Man and the Blade Trilogy, Snipes has been, surprisingly, the subject of minimal analysis unlike, for example Schwarzenegger and Stallone. Unfortunately, he has also fallen foul of the direct to video curse from around 2005 as well as being sentenced to three years in prison for tax evasion. However, this should not negate Snipes' contribution to cinema, especially in the genre of action. Snipes can be a commanding presence given the right script and direction – as an expert martial artist he is lithe and agile; he has strong facial features and a powerful voice, plus the ability to deliver the wisecracking humour which often goes hand-in-hand with action performances. The aim of this chapter, then, is to focus on Snipes as an action star and, more specifically, his significance as a black action star, examining several key films which have helped to develop his onscreen persona and performance style.

This paper explores the debate on emerging career forms, focusing on the notion of portfolio working. It comments that while the language used about careers is changing, there is a dearth of empirical studies about career trends. This study focuses in depth on a group of ex‐public sector managers who have left organisational employment for independent working. Drawing inductively on the interviews with them, the paper seeks to explore how they account for this move. It concludes that there is more evidence of push from the organisation than the intrinsic pull of portfolio working. However, once involved in this way of working most people become more reconciled to it.

The day a record size blue marlin nearly dragged Sir Charles Forte into the Indian Ocean might well be scoffed at as another fisherman's exaggeration. But any conversation with him will soon reveal that the 62‐year‐old deputy chairman of Trust House Forte need never make any idle boasts about his sporting achievements.