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Although the martial arts industry is rapidly evolving into a mature and highly competitive marketplace, only a few studies have been conducted to understand why people participate in martial arts. The purpose of this study is to examine motivation factors that influence an individual's participation in martial arts to provide leaders of the industry with meaningful managerial implications. The researchers collected data from the 2004 Battle of Columbus Martial Arts World Games IV, one of the most popular martial arts events in the US. The results of a series of MANOVA tests revealed that these martial arts participants (N = 307) are highly motivated by growth-related motivation (e.g. value development and actualisation). In addition, the findings indicate that motivation of martial arts practitioners varies across types of martial arts disciplines, competition orientation and past experiences. Given these results, implications for future research and practice are discussed

This paper proposes the use of martial arts as a means to combat aggressiveness and, at the same time, to provide a concrete and preventive answer to the problem of violence against women.

The paper suggests the teaching of martial arts in school for both sexes, with a double positive effect: the reduction of the tendency to violence for boys and an increase in the defensive potential for girls. In both cases, looking to the long term, these synergistic effects could contribute to a reduction in violence against women.

The paper describes the Italian experience in teaching karate and judo at school. The Italian federation of judo, karate, fight and martial arts (FIJLKAM) was one of the first sports federations to have obtained the approval of a project for teaching its disciplines in schools. Thus, a lot of clubs of martial arts have been entering primary and secondary schools and they are teaching martial arts to children between 5 and 14 years old. During the school year 2008/2009 there were: 400 sports clubs implementing the project; 500 schools involved; 60.000 students participating.

In the paper two important points are proposed in order to achieve the goal: the obligatory inclusion of martial arts in school education programs by the government; and a scientific monitoring of the effects of these programs on the improvement of pupils' school performances and on the reduction of violence among boys.

In many cases some parents and school administrators still think that including martial arts in school programs may lead to incidents and instigating violence. But, the Italian experience shows that after the implementation of right projects in the schools, both parents and school administrators radically change their opinions on martial arts. Most cases have shown that after the first year just the parents who were initially dubious about the project ask the school for the reactivation of similar projects for the following years.

The paper identified a long‐term strategy to combat the problem of violence against women.

The Final Girls (Todd Strauss-Schulson, 2015) is the story of a group of teenage friends that, during the screening of a Friday the 13th-like 1980s slasher horror, happen to be sucked into the film. Trapped in the gruesome narrative, they have to survive the deranged killer that haunts the premises of the campsite by applying their knowledge of the rules and cliches of the slasher genre. The film is of interest not only because it mixes horror and comedy and exaggerates the horror genre’s conventions – as Scream and other neo-slashers already did. By employing the device of the screen rupture, the film constructs a complex network of self-reflexive moments and intertextual references. The metalinguistic play involves in particular the notoriously sexophobic and gender-led dynamics of the 1980s slashers – those more emancipated girls who have sex are killed; the most prudish girl is the one that eventually manages to defeat the monster, the ‘Final Girl’. In this sense, the film is almost like a video essay that reprises and illustrates one of the most seminal study of the slasher genre, Carol Clover’s 1992 Men, Women, and Chainsaws: Gender in the Modern Horror Film. The chapter presents the defining elements of the slasher subgenre as theorized by Clover and then focusses on the analysis of the metalinguistic elements of The Final Girls vis-à-vis Clover’s classic text.

The purpose of this paper is to use the work of philosopher Slavoj Žižek to gain insights into representations of the librarian and the library in contemporary popular culture.

A psycho-analytic reading of the comic book series Rex Libris using Slavoj Žižek’s treatment of Jacques Lacan.

Žižek’s approach can provide novel and previously unconsidered insights into the understanding of librarian stereotypes in particular and representations of the library in general.

This paper is limited to the representations of the librarian and the library in one comic book series. Its findings need to be generalized to representations in other forms of popular culture.

As far as the authors know, this is the only paper that has applied the work of Žižek in the library and information science (LIS) literature. As such, not only are the insights into the representations of librarians and libraries important, this paper also acts as a valuable introduction to the work of Žižek for the LIS community of scholars.

This study investigates the impact of cultural distance on foreign box office performance of East Asian cinematic production in European markets. Predicated on two dimensions of a film's cultural specificity, namely content- and aesthetics-based components, this research advances current knowledge on the moderating effects of cultural specificity.

The authors compile a data set of 515 East Asian films released in European countries during the 2010–2018 period. Data are analyzed by hierarchical linear modeling.

Results show that cultural distance plays a negative role in affecting foreign box office performance and that aesthetics specificity of films weakens such a relationship, while content specificity of films can further strengthen the relationship.

The findings suggest that cultural specificity is a crucial element and a relevant marketing tool in the cross-country film trade. Film producers and distributors need to consider both distribution strategy and intercultural context in order to align effectively with differing cultural distance and specificity.

This study proposes a new categorization framework of cultural specificity and demonstrates the moderating roles of content and aesthetics specificity on the relationship between cultural distance and films' foreign box office performance. It offers implications for both theory and practice in global film marketing and trade.

In “the century of culture,” a current drift is toward utilizing cultural heritage branding. Cultural heritage brand referred to in this study means a brand with value proposition based on cultural heritage. As Asian cultures are gathering global focus amid ongoing trend of exoticism and the growth of Asian economies, there is more opportunity especially for Asian brands to benefit from cultural heritage branding. Also, the advantages of cultural heritage branding can benefit fashion brands, considering that designs of great importance in fashion brand's competitiveness can earn creativity and originality from cultural heritage.

Therefore, this study (1) profiles cultural heritage fashion brands based on Asia: Japan, China, and Korea, (2) identifies components of cultural heritage fashion branding by comparative analysis, and (3) identifies characteristics in brand management strategy from the brands, and offer managerial implications for upcoming cultural heritage fashion brands.

This study adopts a case study approach that focuses on Asian fashion brands; Issey Miyake (Japan), Shanghai Tang (China), and Damyeon designed by Lee Hye Soon (Korea). The analytical contents of this research include general profiles (i.e., brand history, brand philosophy and concept, and BI and visual representation), cultural heritage perspectives and brand management perspective (i.e., product, price, place, promotion, and brand extension). Most of the information was retrieved from multiple sources including books, academic papers, brand's annual report, brand official website, news articles, etc.

Overall, this study shows cultural heritage fashion branding can be useful in distinctiveness in positioning and delivering brand value in depth, authenticity, and credibility for customers (Urde, 2007). The findings suggest some managerial as well as cultural heritage-related indications for upcoming cultural heritage fashion brands.

Although common components of cultural heritage fashion branding (i.e., utilization of traditional prototype, emphasis on traditional fabric, and preservation of traditional craftsmanship) were drawn out, achieving optimal balance between tradition and modernity was found critical as well. Managerial guidelines include foreign brand naming, premium pricing, art-related promotions, and extension for a total lifestyle brand. In further research, the type of industry and different country-of-origins can be applied in order to extensively study about the issue of cultural heritage branding.

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.

The management of children′s literature is a search for value and suitability. Effective policies in library and educational work are based firmly on knowledge of materials, and on the bibliographical and critical frame within which the materials appear and might best be selected. Boundaries, like those between quality and popular books, and between children′s and adult materials, present important challenges for selection, and implicit in this process are professional acumen and judgement. Yet also there are attitudes and systems of values, which can powerfully influence selection on grounds of morality and good taste. To guard against undue subjectivity, the knowledge frame should acknowledge the relevance of social and experiential context for all reading materials, how readers think as well as how they read, and what explicit and implicit agendas the authors have. The good professional takes all these factors on board.

Cangaço was a form of banditry that occurred in the North-East of Brazil between 1870 and 1940. The movement has inspired many films over the years. This chapter explores the contribution of Cangaço-inspired productions to Brazilian cinema, as well as the particular characteristics of what constitutes the Cangaço genre.

Following a historical survey of the Cangaço, the films were divided into different categories and ranked in terms of relevance. Only the most important are discussed in this chapter.

The Cangaço has been portrayed in Brazilian cinema through the decades in diverse ways, dating back to the 1920s. After becoming a consolidated film genre in the 1950s, then known as Nordestern, the Cangaço finally acquired a proper structure, featuring multiple Western references among its common characteristics. In the 1960s, Glauber Rocha, one of the most prominent filmmakers of the Cinema Novo avant-garde movement, added his own symbolism to the genre. Eventually, the Cangaço was also revisited by directors who combined it with other genres such as comedy, documentary, and erotic films. Another relevant reinterpretation came in the 1990s, when filmmakers of the so-called New Brazilian Cinema offered a new view on the subject.

Despite its strong association with Brazil, the Cangaço has not been thoroughly investigated by researchers. This chapter presents a historical survey and analysis of Cangaço films, highlighting their relevance to Brazilian cinema.

This chapter documents the process of conducting research as an anthropological expert witness to provide evidentiary proof of a well-founded fear of persecution on account of “race” among Chinese Indonesian asylum seekers in the United States. The research employed detailed oral history interviews supplemented by ethnographic information on names, kinship terminologies, and rituals honoring the dead to reconcile the dilemma of verifying cultural identity without essentializing Chinese culture. It also employed the theory of racialization to account for persecution based on “race” according to the 1951 Refugee Convention while recognizing the social science convention of viewing “race” as socially constructed.