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Responding to the increased visibility of populist demagogues in the critical and cultural discourses of contemporary Western society, recent activity within the academy has sought to clarify, develop and (re)define populism as a phenomenon. Via analyses of Aliens (Cameron, 1986), The Running Man (Glaser, 1987) and Robocop (Verhoeven, 1987), this chapter draws upon these conceptualisations to revisit a sample of action heroes from the eighties action cinema. Exploring the intersection of these gendered identities with the aesthetics of ideational populism, the chapter demonstrates how such texts have helped shape the nature of the action cinema genre from the outset. In doing so, the chapter considers (1) how these narratives construct a duality of homogenous antagonistic groups, organised around a virtuous people and corrupt self-serving elite, thereby mirroring the fundamental conditions of populism, (2) how the super-objectives guiding the principles and actions of characters operate as gendered and thin-centred ideologies which fail to offer meaningful solutions to the wider socio-political issues encountered, and (3) how Richards, Ripley and Robocop are positioned as self-appointed demagogues, who pursue personal, rather than common, solutions and often operate without conventional societal constraints.

There is growing public interest in alternatives to intellectual property including, but not limited to, prizes and government grants. We collect various historical and contemporary examples of alternative incentives, and show when they are superior to intellectual property. We also give an explanation for why federally funded R&D has moved from an intramural activity to largely a grant process. Finally, we observe that much research is supported by a hybrid system of public and private sponsorship, and explain why this makes sense in some circumstances.