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Johanna Harwood was the first, and until Phoebe Waller-Bridge’s hiring on No Time to Die, the only woman screenwriter to work on the Bond films. Harwood was there at the beginning, gaining credits for her work on Dr No (1962) and From Russia with Love (1963), but her chequered experiences of trying to gain leverage within the film industry as a writer, having to contend with institutionalised as well as individualised sexism, prompted her eventual decision to leave Bond, her former employer Harry Saltzman, and the film industry behind. Her story not only provides valuable insights into the genesis of Bond on screen, it also shows the importance of incorporating production studies into discussions of gender and James Bond films, thinking about off-screen as well as on-screen female representation. Beyond Bond, it also illuminates some of the obstacles faced by women trying to build a career in the film industry in the 1960s (not that their problems are limited to that decade) and how film production labour done by women frequently goes uncredited or is discredited, despite its often formative importance.

The impact that workplace aggression has on organizations and its members has become a focal point for organizational research. To date, studies have primarily examined the perpetrator of workplace aggression, specifically their personality traits. In this chapter, we draw on Institutional Theory to better understand a specific form of workplace aggression, indirect (covert) aggression. We specifically present a model that shows how the normative pressures and social roles within an institution influence the aggressive actions by employees as well as the scripts employees utilize in response to indirect aggression. We assert that an examination of how scripts are used to respond to indirect aggression will be especially helpful in understanding how institutional pressures influence this type of workplace aggression within organizations.

Creativity and innovation are important for fulfilling organizational goals. In understanding ways to enhance creativity research has moved on from understanding individual creativity, to an organizational analysis of successful firms that encourage creativity. However, an additional source of creativity stems from direct and indirect leadership and the decisions leaders make to enhance creativity throughout the organization. This chapter examines creativity in film and television as influenced by leadership activities at the organization, team, and individual level and describes lessons learned.

Religious institutions can affect organizational practices when employees bring their religious commitments and practices into the workplace. But those religious commitments function in the midst of other organizational factors that influence the working out of employees’ religious commitments. This process can generate varying outcomes in organizational contexts, ranging from a heightened effect of religious commitment on employee behavior to a negligible or nonexistent influence of religion on employee behavior. Relying on social identity theory and schematic social cognition as unifying frameworks for the study of religious behavior, we develop a theoretically informed approach to understanding how and why the religious beliefs, commitments and practices employees bring to work have varying behavioral impacts.

This study extends work from home (WFH) literature by recasting WFH performances that emphasise agents’ manipulation of scene. Drawing on the dramatist paradigm, the study uses Burke’s pentadic criticism to code the social media application Pinterest’s ‘work from home’ and ‘home office’ pinboards for act, agent, agency, scene, and purpose. Pinterest is a social media application that users post pins (images with verbal tags and link to external sites, especially blog sites) and collect pins by subject on an electronic pinboard, which other users can like, follow, and share. Analysis of WFH pins reveals that the agent–scene ratio saturates pins emphasising the agency of WFH agents to control their scenes or home office spaces. The idealism of the agent–scene ratio in pins further demonstrates an unrealistic approach to popular culture’s shift to WFH and a romanticisation of WFH as idyllic working conditions. Scripts for employees and employers are explored to equip them with the rhetorical resources to more closely align their agent–scene ideals with the scene–agent realities.

This chapter examines how gender interacts with informal workers’ collective action strategies in the context of contemporary development scripts around economic growth. Specifically, it engages the theoretical debates on the relationship between patriarchy and capitalism as the systems of domination that organize gender and class. Drawing from a comparative analysis of informal workers’ movements in India’s domestic work and construction sectors, I find the relationship between gender and class and between patriarchy and capitalism is being reconceptualized from below and differs by occupational structures and organization histories. For domestic workers, movements assert what I call a “unitary” model of exploitation. Because domestic workers’ organizations entered the productive sphere through a focus on social reproduction, their struggles conflate gender and class to reverse the shame attached to domestic work and increase the recognized worth of women’s labor. Because construction workers’ organizations mobilize male and female workers and began as class-based organizations focusing on productive work, they articulate what I term “a dual systems” approach to patriarchy and capitalism that exposes inequalities between men and women within the sector, such as unequal pay, glass ceilings, and issues of embodiment. In both cases, global development scripts have not only shaped movement approaches, but also enabled movements to articulate gendered labor subjects in innovative ways. While domestic workers’ unitary model has had more success in increasing women workers’ dignity and leadership, construction workers’ dualist model has attained more successes in attaining material benefits in the reproductive sphere. These findings suggest that debates on unitary versus dual-systems models of exploitation present a false dichotomy and veil the reality that both are necessary for feminist theory, development models, and women workers’ struggles on the ground.

This chapter intends to provide a reflexive discussion of the experience I loosely refer to as the ‘supervisory relationship breakdown’, which led me to withdraw from a Professional Doctorate in the penultimate year of completion. The event left an indelible impact upon me; a reminder of my blackness, the contrast between that and the ivory tower of academia and the emotional toil I endured as each incident unfolded, ultimately leading to my exit and the shattering of my emotional wellbeing. The term ‘supervisory relationship breakdown’ is a superficial reference to a complex entanglement of what I deemed to be dysconscious racism and attempts situated historically to control people of colour through education. I will explore how I as a black woman in academia believe I am perceived through a dysconscious racial lens, a lens shaped by a perception to maintain white privilege. I posit how a misalignment existed between who I am and who I was perceived to be by my doctoral supervisor. The space between this misalignment became filled with inequity, tension and oppression, culminating in the relationship breakdown. I present an ‘implosion’ of the relationship as a metaphor for the embodied affect having to withdraw from the doctorate had on me; it felt as though my ‘self’ – body, mind and spirit – were broken, in a state of collapse which I did not know how I would recover from. I conclude with support and renewed hope, I returned to academia and found an alternative approach for completing my doctorate.