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This study examines the strategies used, and the challenges faced, by global sport company adidas as it established a major sponsorship deal with the New Zealand Rugby Football Union. In particular the study focuses on how adidas 'localised' into the New Zealand market, how they used the All Blacks as part of their global marketing campaign and, the resistance they encountered based on claims they were exploiting the Maori haka.

Sir Raymond Streat, C.B.E., Director of The Cotton Board, Manchester, accompanied by Lady Streat. A Vice‐President: F. C. Francis, M.A., F.S.A., Keeper of the Department of Printed Books, British Museum. Honorary Treasurer: J.E.Wright. Honorary Secretary: Mrs. J. Lancaster‐Jones, B.Sc., Science Librarian, British Council. Chairman of Council: Miss Barbara Kyle, Research Worker, Social Sciences Documentation. Director: Leslie Wilson, M.A.

Interest in motion picture studies has grown rapidly over the past dozen years. A logical consequence of this interest has been the development of several retrospective and current indexes devoted to various aspects of film whether as an art form or as a business. Some of these sources have filled gaps in the field, while others, claiming to do so, have not. The computer also deserves some recognition fo: its role in the development of some of these publications. The 1970s have been a particularly active period in the publication of film studies indexes.

“Since films attract an audience of millions, the need and appetite for information about them is enormous.” So said Harold Leonard in his introduction to The Film Index published in 1941. The 1970's has produced more than enough — too much — food to satisfy that appetite. In the past five years the number of reference books, in this context defined as encyclopedias, handbooks, directories, dictionaries, indexes and bibliographies, and the astounding number of volumes on individual directors, complete histories, genre history and analysis, published screenplays, critics' anthologies, biographies of actors and actresses, film theory, film technique and production and nostalgia, that have been published is overwhelming. The problem in film scholarship is not too little material but the senseless duplication of materials that already exist and the embarrassing output of items that are poorly or haphazardly researched, or perhaps should not have been written at all.

Ridley Scott’s 1982 cinematic production of Blade Runner, based loosely on a 1968 story by Philip Dick (Do Androids Dream of Electric Sheep?), is read within a general context of critical theory, the purpose being twofold: first, to highlight the film’s fit with, and within, several issues that have been important to critical theory and, second, to explore some questions, criticisms, and extensions of those issues – the dialectic of identity/difference most crucially – by speculations within and on the film’s text. The exploration is similar in approach to studies of specific films within the context of issues of social, cultural, and political theory conducted by the late Stanley Cavell. Interrogations of dimensions of scenarios and sequences of plotline, conceptual pursuit of some implications, and assessments of the realism at work in cinematic format are combined with mainly descriptive evaluations of character portrayals and dynamics as these relate to specified thematics of the identity/difference dialectic. The film puts in relief evolving meanings of prosthetics – which is to say changes in the practical as well as conceptual-semantic boundaries of “human being”: what counts as “same” versus “other”? “domestic” versus “foreign”? “integrity” versus “dissolution”? “safety” versus “danger”? And how do those polarities, understood within a unity-of-opposites dialectic, change, as human beings are confronted more and more stressfully by their own reproductions of “environment” – that is, the perspectival device of “what is ‘text’ and what is context’?” – and variations of that device by direct and indirect effects of human actions, as those actions have unfolded within recursive sequences of prior versions of perspectival device, a device repeatedly engaged, albeit primarily and mainly implicitly, as a “prosthetic that could not be a prosthetic.”

THE Report of the Committee on Libraries, which was issued by the University Grants Committee in the summer of 1967, had for long been called the Parry Report after its Chairman, Dr. Thomas Parry, formerly Librarian of the National Library of Wales and at the time the Principal of University College of Wales in Aberystwyth. When it was first set up in June 1963 the terms of reference were as follows:

This chapter investigates the current trend toward both creative and experiential tourism in cities in terms of the development and marketing of local attractions.

Creative tourism in cities is profiled through a literature review and further investigated by means of a case study at a local attraction in Toronto, Canada. The choice of a site was one of a creative city and the re-purposing of a formerly industrial site for visitation.

The study of Evergreens Brickworks demonstrated the use of marketing techniques to identify markets and match visitors with experiences. The visitor segmentation method determined that pre-scheduled and bookable activities offered for locals need to be offered on a different basis for tourists, who may be one time visitors to the site. The product-market match process suggested areas in which products could be modified or indeed created.

This practical study offers lessons for other local visitor attractions and their managers desiring to identify market segments and match them with appropriate activities creating experiential tourism at the site level within the creative city context.

While many studies of the creative tourism concept and cities have been undertaken within the context of destinations this research offers a site-specific perspective as well as marketing perspective that will be of practical value to attraction managers.