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David Punter and Glennis Byron note how the Gothic novel has been divided into two categories: the ‘Male’ and ‘Female’ Gothic. Where the former emphasizes violence and ghosts, the latter focuses on female representation and the disavowal of the supernatural. The Hollywood Gothic films of the 1940s can be said to translate this aspect of the Female Gothic onto the cinema screen: Rebecca (1940), Gaslight (1944) and Secret Beyond the Door (1947) all feature narratives stressing the haunting nature of domestic spaces but there are no actual ghosts present. Robert Zemeckis’s What Lies Beneath (2000) breaks this convention. The film clearly draws on the Female Gothic lineage, situating Claire as a Gothic heroine, and yet there is an important difference: the supernatural is now an integral – and acknowledged – part of the story. This chapter explores this twenty-first century change, arguing that whilst the inclusion of the supernatural can be said to break with previous definitions of the Female Gothic, What Lies Beneath’s depiction of a ghost actually re-imagines and re-emphasizes the concerns at the centre of this tradition: the dramatization of marital and domestic experiences; an interrogation of feminine perception; and the reality of male violence against women.

This paper provides an interview with Jean‐Marc Lehu about the growth in product placement as an alternative to classic TV advertising, which is in decline.

This paper is an interview with Jean‐Marc Lehu.

Discusses changes in consumer behavior, the impact of new technologies and the advantages and risks of product placement. Outlines the different types of product placement, illustrating these and other points made with examples of placement strategies in specific films. Forecasts continuing development of branded entertainment and increasing use of corporate websites in the delivery of entertaining interactive content designed to foster and maintain contact with consumers.

This paper provides an outline of product placement as an alternative to classic TV advertising.

The 1980s saw both a return and rise to box office prominence of the once-popular Sword and Sorcery genre. Following on from Arnold Schwarzenegger's performance as Conan the Barbarian (1982), a raft of imitators followed. On the one hand, there were films like Krull (1983) and He-Man and the Masters of the Universe (1983) with their big budgets and excellent casts. On the other were their ‘spaghetti’ variations, such as Conquest (1983), Hercules (1983) and the Ator (1982–1990) series, where poor production values, doleful acting, and even more atrocious dubbing remained more frightening than any monsters the hero encountered.

For the most part, the sword and sorcery genre predominantly focused on the male in the canon. However, using Yvonne Tasker's (1993) work on spectacular and hard bodies in action cinema, this chapter will provide an analysis of how female characters in the sword and sorcery genre are portrayed, using Barbarian Queen (1985) as a case study.

This exploration of management history focuses on mass entertainment media to determine the history of the efficiency expert in popular culture. It reviews the history of the image of the efficiency expert in film and on American‐produced television programs. The review shows that this profession is a universal and pervasive one, permanently embedded in our culture and catholic in background, occupation and workplace. It is generally a man’s job. The most significant historical trend is a sharp change from the efficiency expert as an amusing and relatively harmless character to a malevolent one who is to be feared. Although television has only existed for about half as long as motion pictures, the depiction of the efficiency expert on TV is similar to his movie image. This widely recognized profession needs no introduction to the viewer. He is a negative figure, often laughed at but never admired.

This chapter explores the episodes of Doctor Who featuring the Weeping Angels, in order to explore how their femininity impacts their monstrosity. Other (male) monsters in Doctor Who kill the victims outright: Daleks exterminate their victims and Cybermen upgrade (essentially extracting all of their humanity, turning them into mindless robots) their victims. The only reoccurring feminine monsters, the Weeping Angels, do not kill anyone. They don’t take away their humanity; they simply transport them to another time. They live out their entire lives in this new time, unharmed beyond the inconvenience of temporal displacement.

The Weeping Angels could be analysed as a reversal of Barbara Creed’s monstrous feminine (1993); as their femininity makes them more human and more compassionate instead of more monstrous. They also could be thought of in terms of feminist ethics à la Nel Noddings’ feminist approach to care. In this chapter, I will argue that though traditionally villainous women are made monstrous via their femininity; in the case of the Weeping Angels, their femininity gives them a sense of humanity and compassion, thus making them less monstrous.