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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).

This study aims to address a heretofore neglected area in research, nation branding, for the purpose of attracting foreign direct investment (FDI). It compares and contrasts the well-established literature on decision-making and location choice in FDI with studies in the nascent field of nation branding, with a view to developing directions for future research that result from the identification of research gaps at the intersection point between the two areas.

The study is based on a systematic and integrative review of several streams within the relevant literatures, from the theory of decision-making in FDI to the similarities and differences between advertising, promotion, branding and marketing for investment on the part of nations and sub- or supra-national places.

Each of the two areas is characterized by lack of consensus as to the principal factors that affect investor and nation decisions and actions, resulting in several knowledge gaps that need to be addressed by new research along the lines suggested in the study.

A large number of avenues for potential future research are identified, from assessing the importance of target country image in location choice to the adverse effects arising from the emphasis on “promotion” rather than “marketing” on the part of places engaged in nation branding efforts.

The study examines several problems that affect the practice of nation branding for FDI and points to alternative approaches that may enhance place marketers’ effectiveness in their efforts to attract foreign capital.

Notwithstanding the global growth of FDI in volume and importance, and the omnipresence of nation branding campaigns to promote exports or attract tourism and investment, there has been virtually no research to date on the core issue, nation branding for FDI. The study uses a strategic perspective that highlights key nation branding issues related to FDI, and FDI issues related to nation branding, and suggests a comprehensive agenda for research in the future.

This paper aims to contribute to the development of a film brand theory and in doing so, illustrate the utility of a socio‐cultural approach to branding. The purpose is to develop the conceptual framework within which the film brandscape may be considered. An illustrative case study of the James Bond franchise is provided so that the potential application of the framework can be clearly understood.

The paper approaches the topic from a socio‐cultural perspective in order to take particular account of the symbolic nature of film offerings. It combines insights from contemporary production and consumption practices in the film industry with theoretical perspectives from marketing, branding, consumer, cultural and film studies. Although a conceptual paper, it incorporates an illustrative case, the James Bond franchise, in order to support the proposed brandscape.

Films are marked with signs of ownership and may carry other cues which function as risk‐reducing shorthand devices. Consumers look to brand characteristics as communicated through brand cues. Particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time.

This paper presents a theory of film branding which is primarily applicable to mainstream commercial films. The implications for marketing and branding scholars are highlighting the need to view brands within their wider brandscapes in order to understand how consumers understand brands in relation to one another. There is also a need to move beyond dominant relational modes of thinking about brands and consumers to consider the temporal nature of brand meanings.

The paper offers a theoretical approach enabling scholars in a range of disciplines to engage in cross‐disciplinary dialogue about film brands, thus facilitating debate and opening up new lines of research inquiry. The case study included is merely illustrative and further empirical studies are needed to test and develop the brandscape.

The paper develops the cultural approach to branding through introducing the idea of the granularity of the brandscape: particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time. Managerial decision making can be understood through considering the various cast and crew decisions, genre and positioning. Through understanding the granularity of the brandscape, marketing and branding practitioners can have a greater understanding of consumer sensemaking which can be used in strategic decision making.

The aim of this paper is to analyze the interrelationship between film-induced tourism and visits to theme parks by tourists and examine the most viewed movies worldwide (2010–2022) which are related with theme parks and their attractions.

The methodology used in this study is a set of qualitative and quantitative indicators for measuring the most visited theme parks worldwide and the most viewed movies that have allowed to answer the research questions.

This research provides a new contribution to tourism and entertainment industries. Results have shown that film-induced tourism can be the perfect marketing tool to attract more tourists to theme parks through movies and their real or fictional characters represented in films such as Marvel, Minions, Avatar, Harry Potter and Disney, amongst many others. These famous characters are part of theme park’s rides to attract tourists to visit film theme parks These rides allow users to travel in a fantasy experience and interact with film characters of cartoons or fictions. There is a high correlation between film-induced tourism and theme parks’ attractions. Film-induced tourism provides great benefits to the society, theme parks, cinemas and tourist destinations. Indeed, movies help to increase the number of visitors to theme parks. In 2019, 215 million people visited the top 20 theme parks worldwide analyzed in this study, this figure is quite lucrative to entertainment and tourism sectors, local and regional economies where these theme parks are localized.

This study presents the importance of theme parks at tourist destinations because theme parks are an extension of movies, thus is, the end of the physical perfect experience at theme parks which began in a movie seat or on your TV/videogame/PC screens.

本文的主要目的是分析电影引起的旅游和游客参观主题公园之间的相互关系, 并研究与主题公园及其景点有关的全球最受欢迎的电影（2010-2022年）。

本研究使用的方法是一套定性和定量的指标来衡量全球访问量最大的主题公园和观看次数最多的电影, 使我们能够回答本研究中提出的问题。

这项研究为旅游和娱乐业提供了新的贡献, 结果表明, 电影引起的旅游可以成为完美的营销工具, 通过电影及其影片吸引更多的游客到主题公园。通过电影和他们在电影中所代表的真实或虚构的人物, 如漫威、小人、阿凡达、哈利波特、迪斯尼等, 主题公园。这些著名人物是主题公园景点的一部分, 以吸引游客参观与电影有关的景点。这些景点让游客有一个幻想的体验, 并与卡通人物互动。电影引起的旅游和主题公园景点之间存在着高度的相关性。我们必须认识到, 电影引发的旅游为社会、主题公园、电影院和旅游目的地提供了巨大的利益。事实上, 电影有助于增加主题公园的游客数量。2019年, 有2.15亿人参观了本研究中分析的世界前20大主题公园, 这个数字对于娱乐和旅游部门、这些主题公园所在的地方和区域经济来说是相当有利可图的。

本研究揭示了主题公园在旅游目的地的重要性, 因为这些旅游景点是电影的延伸, 也就是说, 主题公园及其基于电影和动画的景点是游客在主题公园生活体验的最后一部分, 而这种体验是从电影院的座位上、电视、视频游戏或电脑屏幕前开始的。

El principal desafío de este artículo es analizar la interrelación entre el turismo inducido por las películas y las visitas a los parques temáticos por parte de los visitantes, y examinar las películas más vistas en todo el mundo (2010-2022) relacionadas con los parques temáticos y sus atracciones.

La metodología utilizada en este estudio es un conjunto de indicadores cualitativos y cuantitativos para medir los parques temáticos más visitados a nivel mundial y las películas más vistas que nos han permitido responder a las preguntas planteadas en esta investigación.

Esta investigación proporciona una nueva contribución a las industrias del turismo y el entretenimiento. Los resultados han demostrado que el turismo inducido por el cine puede ser la herramienta de marketing perfecta para atraer más visitantes a los parques temáticos a través de películas y sus personajes reales o ficticios representados en películas como Marvel, Minions, Avatar, Harry Potter, Disney, entre muchos otros. Estos personajes famosos son parte de las atracciones de los parques temáticos para atraer a los visitantes a visitar las atracciones relacionadas con las películas. Estas atracciones permiten a los visitantes tener una experiencia de fantasía e interactuar con personajes de películas de dibujos animados o ficción. Existe una alta correlación entre el turismo inducido por el cine y las atracciones de los parques temáticos. Debemos reconocer que el turismo inducido por el cine ofrece grandes beneficios a la sociedad, parques temáticos, cines y destinos turísticos. De hecho, las películas ayudan a aumentar el número de visitantes a los parques temáticos. En 2019, 215 millones de personas visitaron los 20 parques temáticos más importantes del mundo analizados en este estudio, esta cifra es bastante lucrativa para los sectores de entretenimiento y turismo, y la economía local y regional donde se encuentran estos parques temáticos.

Este estudio revela la importancia de los parques temáticos en los destinos turísticos, dado que estas atracciones turísticas son una extensión de las películas, es decir, los parques temáticos y sus atracciones basadas en películas y animaciones son la parte final de una experiencia vivida por los visitantes en dichos parques y que comenzó en un asiento de cine, frente a su TV, un videojuego, o pantalla de ordenador.

The purpose of this paper is to contribute to a better understanding of the role of learning in performance measurement.

The authors develop a theoretical framework combining workplace learning theory with purposes of performance measurement. The authors elaborate this framework empirically by identifying critical incidents from a case set within a context containing a broad range of different performance measurement activities. Finally, the authors discuss the results and the possible implications for using the theoretical framework in order to better understand facets of learning regarding the design of performance measurement.

Workplace learning theory provides a deeper understanding of how the mechanisms of performance measurements support control or improvement purposes. The authors propose a tentative framework for learning as a driver for performance measurement and four facets of learning are identified: reproductive, rule-oriented, goal-oriented and creative learning.

The empirical material is limited to the healthcare context and further studies are needed in order to validate the findings in other settings.

The authors argue that all managers must consider what kind of learning environment and what kind of learning outcomes best serve the interests of their organisation. Purposeful and carefully designed organisational arrangements and learning environments are more likely to induce intended learning outcomes.

Previous connections between the fields of “performance measurement” and “workplace learning” often lack any deeper conceptualisations or problematisations of the concept of learning. In this paper, the authors provide a more nuanced discussion about the process of learning in performance measurement, which may provide a basis for further research and scholarly attention.

This study investigates one aspect of the multi‐source feedback process: the agreement between self‐ratings and coworker ratings of workplace behavior. Moderators of rating agreement (i.e., number of years that the coworker had known the employee, trustworthiness of the employee, and country status) are carefully examined. Eighty‐six Russian employee‐coworker dyads, 99 Polish dyads, and 95 U.S. dyads from more than 225 organizations participated. Regression results indicate that rating agreement was higher when the Polish and U.S. coworker knew the target employee a shorter period of time and when the Polish, Russian, and U.S. target employee was considered trustworthy.

This chapter examines the goals and outcomes of intergroup dialogue through the evaluation of a dialogue program between city and suburban high school students located in Syracuse, NY. The Community Wide Dialogue to End Racism, Improve Race Relations and Begin Racial Healing (CWD) organizers share with a wide range of conflict theorists and practitioners the impulse to bring citizens together to talk about complex social conflicts. Two of the main goals of this program, to build participants’ understandings of institutional racism and white privilege, are examined here. Drawing on in-depth interviews with a small sample of dialogue participants, a framework is developed for categorizing participant awareness and understanding of institutional racism and white privilege. The analysis suggests that relatively modest levels of understanding of both concepts should be anticipated from participants both before and after completion of a dialogue of this type. While dramatic changes resulting from the dialogue are not found, the data indicate that the dialogue does have demonstrable impacts on the ways participants think and talk about institutional racism and white privilege. The central challenges faced by participants in understanding the concepts, specifically ability to personalize white privilege and capacity to adopt structural ways of thinking about institutional racism, are identified and described. This research helps to clarify the range of outcomes we can feasibly expect when bringing citizens together to talk about social conflicts by providing a qualitative framework for measuring awareness and understanding of white privilege and institutional racism.