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Roland Joffé, the film-maker behind the significant critical hits The Killing Fields (1984) and The Mission (1986), employed a hypnotic aesthetic, which unflinchingly depicted violence and brutality within different cultural contexts. In 2007, he used a no less impressive aesthetic in a similar way, although this film, Captivity, was met with public outcry, including from self-proclaimed feminist film-maker Joss Whedon. This was based upon the depiction, in advertisements, of gendered violence in the popularly termed ‘torture porn’ subgenre, which itself has negative gendered connotations.

We aim to revisit the critical reception of Captivity in light of this public controversy, looking at the gendered tensions within considerations of genre, narration and aesthetics. Critics assumed Captivity was an attempt to capitalize on the popularity of the torture horror subgenre, and there is evidence that the film-makers inserted scenes of gore throughout the narrative to encourage this affiliation. However, this chapter will consider how the film works as both an example of post-peak torture horror and an interesting precursor to more overtly feminist horror, such as A Girl Walks Home Alone at Night (2014) and Raw (2017). This is seen through the aesthetic and narrative centralizing of a knowing conflict between genders, which, while not entirely successful, does uniquely aim to provide commentary on the gender roles which genre criticism of horror has long considered implicit to the genre’s structures and pleasures.

New circus explores a wide range of contemporary global and existential questions. From the dystopian performances of pioneering French new circus Archaos, and the ongoing social justice agenda of Circus Oz, to the themes of social decay and environmental degradation in Oozing Future’s 2019 production Autocannibal, new circus has sought innovative ways to challenge and confront audiences mediated by the human body. With a focus on emotive narrative representations of risk and death, this qualitative research examines the interaction of embodied movement and music in Zebastian Hunter’s Lacanian-inspired Empty Bodies and the author’s development of a circus opera, The Blood Vote. The immediate and embodied artforms of music and circus combine to engender a non-literal, yet powerful, form of speech surrogacy that communicates meaning and emotion, so we are reminded that anything is possible, not least of which is the illusion of the victory of life over death that circus performance itself embodies. Death is ever present in life, a fact we try to repress; circus confronts the audience with the undoing of this repression: we are going to die. This is what captivates us. In this way, contemporary new circus functions as an important signifier of meaning in contemporary performing arts.

This chapter provides a contemporary view of state-of-the science research and thinking done in the areas of selection and classification. It takes as a starting point the observation that the world of work is undergoing important changes that are likely to result in different occupational and organizational structures. In this context, we review recent research on criteria, especially models of job performance, followed by sections on predictors, including ability, personality, vocational interests, biodata, and situational judgment tests. The paper also discusses person-organization fit models, as alternatives or complements to the traditional person-job fit paradigm.

Luxury has received attention from tourism researchers as an important element of the gastronomic tourism experience. With recent research suggesting food and wine tourism being connected to luxury, it is important to explore how gastronomic tourism experiences are marketed to create such perceptions and feelings of luxury. This chapter aims to understand marketing strategies that support luxury gastronomic tourism experiences. In contrast to the definition of luxury as a performance or a value, this research conceptualises luxury as an affect which is sensed and felt in gastronomic tourism experiences. How this conceptualisation translates into marketing practice is explored for a particular gastronomic region. An in-depth analysis of the website of a destination marketing organisation in the Hunter Valley gastronomic region of Australia shows that the gastronomic tourism experience is marketed as bucolic luxury using marketing strategies of connection, congregation and repetition, all of which channel and maintain the affect of bucolic luxury. The chapter contributes to the literature on luxury marketing in the tourism context by identifying marketing strategies that can augment the affect of luxury for the gastronomy tourist.

The figure of the female revenger has haunted the western imagination as far back as some of the earliest extant texts, most starkly in Euripides' tragedies Hecuba and Medea (c. 430–420 bc). She has tended to take on one of three forms: the scorned woman, the vengeful mother or the victim of physical violence, almost always sexual violence.

This chapter presents an interdisciplinary and transhistorical understanding of the troubling figure of the violent female revenger in her shifting incarnations. The investigation traces conceptual strands through a variety of cultural texts, focusing on specific instances that are both situated historically and simultaneously analysed for the ways in which they reflect recurring priorities and cultural anxieties through the centuries.

After considering key ideas such as revenge and justice and gender and revenge, the chapter looks more closely at the so-called rape-revenge genre, moving from the earliest examples such as I Spit on Your Grave (1978) to more recent films which are considered for the ways they intersect with the global feminist protest movement #MeToo, and other key cultural moments such as the Harvey Weinstein case and the very public trial of the USA Gymnastics national team doctor Larry Nassar: Revenge (2017), The Nightingale (2018) and Promising Young Woman (2020). The chapter draws direct lines of connection between imaginative works, cultural types and stereotypes, and lived reality in order to come to a fuller understanding of the female revenger.

Despite an increase in businesses started by celebrities, we have limited understanding as to how celebrity entrepreneurs benefit new ventures. Drawing on a reputational capital perspective, we develop the notion of celebrity capital and show how it can be used to uniquely differentiate the venture and to overcome liabilities of newness. We discuss how celebrity capital can negatively influence the venture when negative information about the celebrity surfaces and in terms of limiting the scope of the venture. We discuss the different strategic implications of celebrity capital for ventures using celebrity entrepreneurs versus endorsers.

There is no argument among serious researchers that a mongoloid stock first colonized the New World from Asia. Nor is there controversy about the fact that these continental pioneers used the Bering Land Bridge that then connected the Asian Far East with Alaska.– Gerald F. Shields, et al.American Journal of Genetics (1992)

Prior to the onset of the COVID-19 pandemic, women did nearly three-quarters of the world’s unpaid work. As institutional supports, including in-person school and community-based care for children, the elderly, and the disabled vanished early in the pandemic, many women’s caregiving responsibilities increased. In some cases, opportunities for paid employment disappeared due to layoffs and furloughs, while in others, paid work was no longer possible without access to the missing institutional supports. Either way, access to needed supports – financial, practical, and social – was diminished. The lapse of needed supports also had severe impacts on subgroups of women, including pregnant and post-partum women. A range of considerations – vaccine safety, social interaction and infection risk, disease severity – have posed serious challenges for pregnant and post-partum women. Across the board, women’s need for continuous access to better social, financial, and practical supports at home, in the community, and in the workplace was made even more evident by the COVID-19 pandemic.

This chapter explores the intersections between narrative criminology and material culture studies using a single object – my wife's old Nazi rifle – as an example. It describes the various connections between the stories we tell and the things that surround us, including the stories objects represent, the stories they may prompt us to tell, the stories we tell using objects as props and the stories our material objects tell us about their owners or users. An object will always tell stories about past, present and future use. This is true of all objects, not just old Nazi rifles, but some things will carry more narrative potential than others. Finally, I ask whether some narratively loaded objects may anticipate or perhaps even precipitate certain actions. Is it true that some objects sometimes ask us to put them to use?