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This study examines how Mixed Martial Arts (MMA) events are marketed in order to understand the role of violence in promoting events. Researchers examined 134 pieces of promotional artwork and 57 promotional news releases by MMA organisations across North America, Asia and Europe and found that 18 (13.4%) pieces of promotional artwork used violent text or imagery. Violent text was found in 12 (21%) of the 57 news releases. Violence was typically limited to smaller or European organisations. Results illustrate an evolution of the sport, suggesting violence may no longer be necessary to promote events.

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 study compared the motives and media consumption behaviours of American and South Korean spectators of Mixed Martial Arts. Significant cross-national differences were noted in sport interest, vicarious achievement, aesthetics, national pride and violence. Backward regression analyses indicated that sport interest, fighter interest and drama predicted media consumption at the American event, while sport interest, drama and adoration were significant predictors at the Korean event.

The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong.

A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire.

A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective.

Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.

For much of its peak popularity in the 1970s and 1980s, women in action films were relegated to the damsel in distress and/or the romantic interest for the male lead. This was particularly evident in action films where women were depicted as being petite and submissive, especially towards the heroic male. Rarely did women occupy the primary focus in action films. Nowadays women are more frequently occupying positions of creative power as producers and actors, and there are some notable examples of progressive female roles in modern film. Female action stars tended to occupy one of two roles, that of what Marc O'Day (2004) labelled ‘action babe’ cinema, using the colloquial and dismissive term ‘babe’ as an indication of the derogatory nature of the female action hero who was often just a supermodel with a gun. However, there has emerged another type of female action star, the tough, aggressive and physically capable female action star, such as Sarah Connor in Terminator 2: Judgement Day (1992).

Yvonne Tasker coined the term ‘musculinity’ to define this new model of tough women; female action stars who appropriate what are considered traditionally masculine traits (developed muscles, aggression, confidence, leadership skills, bravery). The presence of athletic women in action films, especially when compared to their male counterparts, defies expectations for women, and as such provides a unique example to analyse in terms of gender dynamics. This is especially true of combat sports, where aggression is a feature of the sport and still considered a testosterone-oriented attribute. Indeed, in the 1970s and 1980s, the peak of the male action star, martial arts and associated combat sports provided opportunities for many former athletes to transition into action films. Using Tasker's framework of musculinity, I will examine Haywire (2011) as a notable progression in the representation of female action stars and musculinity. Focusing on a case study of Gina Carano's role in Haywire, and her subsequent career narrative, this chapter highlights how perceptions of masculinity and femininity in both combat sports and action films have previously limited roles for women and how much that has shifted in contemporary filmmaking.

In the late 2000s, the Ultimate Fighting Championships (UFC) emerged to become the dominant mixed martial arts (MMA) organisation, bringing the sport to mainstream acceptance. The purpose of this paper is to draw on theories of co-evolution and positive feedbacks to provide insights into how the UFC has assumed this dominant position.

A single historical case study is compiled drawing on data from a number of sources, including the UFC, US State Athletic Commissions, MMA web sites and prior UFC-related academic literature.

A number of significant growth dynamics are identified, including interconnections between the increase in free-to-air events and the generation of new UFC fans and revenues; the increased financial rewards to successful fighters that allows them to improve the quality of their training and the improved quality of UFC content; and the accumulation of a critical mass of high-level fighters that increases the reputation of the UFC and the increased attraction of new fighters to the organisation.

Further in depth studies are necessary to substantiate and quantify the interconnections identified in this paper.

The paper provides insights for other non-mainstream sports organisations that are attempting to grow their participation and viewership.

The emergence of new sports and sports organisations such as the UFC with global appeal and significant commercial returns is infrequent. This study contributes to the need for understanding of how new sports enter the mainstream and the role that governing organisations such as the UFC play in achieving this transition.

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.