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Just as the films that we see are conceived in specific economic, political and cultural contexts, so scholarship is produced within determined situations. This chapter notes some of the driving forces which have led to the emergence of law and film as an area of extensive and very diverse scholarship in the past decade. Whilst these factors have shaped the nature and extent of this work it should be noted that changes in both legal professional interests, academic criteria and within the culture industry mean that we can expect shifts in the nature and patterns of scholarship in the future. These may not, however, be the ones called for by other commentators (Moran, Sandon, Loizidou, & Christie, 2004; Sarat, Douglas, & Umphrey, 2005).

Since its emergence in the early twentieth century, cinema has acquired a cultural identity. As purveyor of light entertainment, the local movie palace sold escapism at a cheap price. It also acted as an important social apparatus that regulated everyday mannerisms and appearance. The purpose of this paper is to investigate the box office ledger of a UK picture house and to consider the role of the accounting document as a medium through which both local and broader social and historical norms can be reflected.

The paper primarily employs archival sources. It examines the box office ledger of the Edinburgh Playhouse cinema for the period 1929‐1973. This ledger is held within the National Archive of Scotland. Secondary sources are also drawn upon to provide a social and historical context to the study.

The analysis of the box office ledger illustrates the potential value of an accounting document as a source of social history. Not only does this single ledger mirror the defining moments in British cinema history, it also helps inform the conception of what constitutes accounting, shapes the perception of contemporary strategic management accounting rhetoric, and further an appreciation of the relationship between accounting and everyday life.

The entertainment industry has been largely ignored within accounting scholarship. Such neglect is lamentable given both the scale of the industry and its impact on contemporary culture. This paper is an attempt to redress this neglect by examining one component of the entertainment business, cinema, through the medium of an accounting document.

Aims to demonstrate, from a marketing and market segmentation point of view, the need to adapt the construct of the family life cycle to the particular features of the Spanish social environment, given the obvious differences in the structure of Spanish households in relation to the USA. From this marketing and cross‐cultural approach, a review of the literature has been conducted on the evolution of the construct and the most significant models that have been arising as the outcome of that evolution. A new life cycle model has been designed reflecting these particular features. Also, on the basis of data taken from the Family Budgets Survey, the capacity of the adapted model has been analysed for predicting household expenditure in comparison with the main US models and the most habitual socioeconomic variables, and for detecting market segments with different needs. The results obtained show the utility of the construct adapted, both as a segmentation variable and as a predictor, together with the typical socioeconomic variables that explain household expenditure. The practical and academic utility of the model from a marketing approach, its potential adaptation to the Mediterranean European environment, and the main methodological limitation of the research are also discussed.

This paper aims to examine how an innovative concept was introduced to a new market segment through varied marketing techniques.

Newspapers from 1958 were reviewed to assess the impact of a chocolate company advertising campaign targeting children. The paper examines the interpretation of the campaign message and the information contained in an album of collectable cards.

Parents leave the teaching role in the hands of companies when they do not clearly understand new technologies such as nuclear energy. Companies can take advantage of what governments introduce into the market to increase their sales.

The originality of the paper lies in the examination of collectable cards as a means of researching marketing history and contributes to the study of market segmentation, particularly in the case of children, focussing on nuclear energy.

In almost 100 years of Colombian cinema, very few productions have had action-oriented narratives at the core of the film, as this cinema has chiefly developed around mainstream genres of melodrama and popular comedy. Rather than a cinematic end, ‘action’ has worked more as a specific means, mainly through thrillers, for directors to represent, question, and denounce the Colombian armed conflict – a central national issue for over 70 years. Whilst such films have tended to showcase male heroes, some recent productions subvert this tradition, and echo aspects of contemporary action cinema in Hollywood, where female representations problematise the perpetuated male image of the action hero.

This chapter examines contemporary Colombian films that offer hybrid images of female warriors who are (anti)heroic or disruptive, within the conventions of the action genre and within the dominant patriarchal discourse of Colombian narrative cinema, concentrating on Rosario Tijeras (Maillé, 2005) and La Sargento Matacho (González, 2017). Following research on Colombian cinema, context and conflict, this chapter highlights how female characters subsist in the public sphere, taking an active part in illegal armed organisations. It also questions how these representations may promote typologies of female emancipations (victimisers, anti-heroines, hybrid tomboys and war fighters), articulating key notions of emancipation. Ultimately, this chapter reiterates how postmodern representations of the female body subvert classic features of the Hollywood action cinema, by offering inaugural images of tough women within the Colombian/Hispanic popular culture and contexts, by examining particular sequences through Creed's multiple views on the female multi-faceted representations in cinema and Tasker's ample theory on action women and bodies.

The figure of the Castilian knight Rodrigo Díaz de Vivar, better known as El Cid, is progressively becoming a frequent topic in metal music. This growing presence has been evident particularly since the explosion of power metal in the late 1990s, and the more recent rise of folk metal, being felt not only in Spanish and Spanish-influenced bands, but also in others with no known links to the Spanish culture. This chapter establishes how the choice of such sources influences the final portrait of El Cid in metal music and the message conveyed to and the effect on the listener. The motivation behind the choices above is explored with a focus on musical, socio-cultural and political–ideological factors.

The purpose of this paper is to analyse film festival spectators on the basis of their motives for attending as well as other variables linked to cultural consumption, the evaluation of the event and certain sociodemographic characteristics of attendees.

Survey data were collected at the Valdivia International Film Festival, the case study. In order to achieve the goals of the paper, a variety of statistical methods and techniques were used. First, principal component factorial analysis was applied to identify the underlying motivational dimensions. Second, the authors adopted cluster analysis based on the dimensions pinpointed in the factorial analysis in order to segment festival attendees. Finally, analysis of variance and χ2 analysis were applied to establish each group's profile.

The empirical research reveals three motivation factors (discovery, entertainment and cinema) and three discrete groups of spectators, labelled as socially indifferent, film lovers and enthusiasts). They present different profiles from a consumption viewpoint.

The results provide useful insights into cultural policy and management of this kind of events, and even for those in charge of tourism policies in the city and the region.

The paper aims to contribute to the literature addressing festival motivation for the specific case of a film festival, a field for which there are almost no studies into motivation, in a given geographical area South America which is active in creating festivals.

The emphasis of this survey is on motion picture reference material that has been published since 1982. This update does not, for the most part, include titles covered in a prior RSR article (1:4; 1983), written by myself, or in an even earlier article by Leslie Kane (7:1; 1979). In those few instances where titles that have appeared in the earlier RSR film surveys are discussed, it is because they now have a new subject emphasis.

In recent decades, higher education institutions (HEIs) have increasingly adopted marketing-oriented approaches. While the adoption of marketing was slower in Europe and Spain, it has become a vital tool for HEIs, both to stay competitive in a changing socio-economic context and to face the challenges posed by the transition to the University 2.0 model. This study aims to analyse the historical evolution of communication techniques used by universities, bringing into focus the relevance of social networks in the most recent decades.

This research methodology consists of two components. Firstly, a comprehensive analysis of the available data is conducted to investigate the earliest marketing and communication actions involving universities, as well as their evolution over time, contextualizing this within the significant shifts in the social, political and technological background. Secondly, a specific focus is placed on the contribution of social media, particularly Twitter, as a powerful tool in creating a university brand and effectively promoting educational institutions, especially during the last stage of this historical evolution. To identify and analyse these trends, Natural Language Processing is used, specifically by leveraging topic modelling techniques.

The results of this analysis offer insights into the evolution of marketing communication applied by Spanish universities and show the increasing importance of social networks and the use of specific topics and contents to enhance their impact on engagement.

This study contributes to the literature by using a novel methodological approach to the research on the historical development of communication in universities in Spain, providing guidance to manage their social media strategy to differentiate themselves, increase engagement and foster brand loyalty.