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Employing the Star Wars brand as a case study, this paper seeks to critically discuss the importance of comparative mythology for inter-generational branding and consumption practices within arts related markets.

Secondary data have been gathered focusing on the analysis of material in the form of books, academic journals, films, videos, television programs, websites and media reports related to the interface between comparative mythology, the Star Wars brand.

First, this paper indicates how the long-standing success of the Star Wars brand mirrors and reflects the power of monomythic storytelling in creating a platform for arts and place building branding associations and extensions for numerous products and services. Second, this study shows and highlights the potential of monomythic structures/storytelling and comparative mythology in acting an underlying cultural platform whereupon several arts brand associations, narratives, extensions and overall strategies can emerge. Finally, this project suggests how arts marketing scholars could further explore the infusion of mythological narratives within branding practices in the areas of performing/visual arts, museums, entertainment and arts related tourism campaigns.

Focusing on the most successful film franchise of all times, this study argues that comparative mythology constitutes an endless source for common templates of artistic, cross-cultural and inter-generational marketing practices focusing on universal moral codes and archetypes.

Conversations around diversity, race and science fiction and fantasy films/television have sparked in response to recent casting decisions made in the upcoming live-action The Little Mermaid, The Lord of the Rings: The Rings of Power and Star Wars' Obi-Wan Kenobi (Deggans, 2022; Romano, 2022). Backlash against casting of actors of Color in these genres highlights racial projects where a cultural memory of whiteness comes up against multicultural change. The authors of this paper feel that there is great potential in using current-day racial issues around fantasy films/television to explore these racial projects with students in social studies classes (Omi and Winant, 2014).

Using a qualitative textual analysis (Peräkylä, 2005), the authors examined online news media outlets addressing the casting of actors of Color in the aforementioned media pieces. After reviewing over twenty articles, the authors determined two major themes that would serve as the findings.

In this paper, themes of nostalgia for an imagined ‘way things were’ and future-based fears of how things will become emerged from the analysis, revealing a need for engaging students in the history of sci-fi and fantasy media, and the existing, diverse histories of storytelling featuring multiple races.

The authors argue that examining racial projects found in contemporary sci-fi and fantasy casting are chances for students to understand complex racial histories and how they blend into current-day cultural landscapes, and are opportunities to practice analysis of real-life racial histories and richly-imagined fantasy worlds, noticing how and why the two often collide when it comes to race.

The purpose of this chapter is to analyse the deviant behaviour of individuals in organisations. Deviants are those who depart from organisational norms. A typology of perceived deviant behaviour is developed from the deviance literature, and subsequently tested.

Star Trek: Into Darkness text is qualitatively analysed as a data source. Three different character arcs are analysed in relation to organisational deviance. Starfleet is the specific, fictional, organisational context.

We found that the typology of deviance is conceptually robust, and facilitates categorisation of different types of deviant behaviour, over time.

Deviance is socially ascribed; so better categorisation of such behaviour improves our understanding of how specific behaviour might deviate from organisational norms, and how different behaviours can mean individuals can be viewed positively or negatively over time.

Further research might determine management responses to the different forms of deviance, and unpack the processes where individuals eschew ‘averageness’ and become deviants.

The typology advanced has descriptive validity to describe deviant behaviour.

Social institutions such as organisations ascribe individual deviants, both negatively and positively.

This chapter extends our understanding of positive and negative deviance in organisations by developing a new typology of deviant behaviour. This typology has descriptive validity in understanding deviant behaviour. Our understanding of both positive and negative deviance in organisational contexts is enhanced, as well as the utility of science fiction literature in ethical analysis.

In this paper we present the results of an experiment to help professional scientists and engineers undertake their own literature searches using a number of the major online bibliographic databases. The end‐users, or experimental subjects, are already familiar with Deco, the text storage and retrieval system used by Unilever, but have little or no knowledge of the major online database systems, such as Orbit, Dialog, BRS, etc. The paper describes the design and development of a front‐end system which simplifies the ‘logon’ procedure and converts Deco format commands into any of the other required languages. The users can thus search any of the major online databases just as if they were searching their own files on their local system. Many of the existing front‐end systems restrict the user by either providing only a limited menu of functions, removing the interactive nature of searching or supporting only a single host, or sometimes all three. We believe that the results of this experiment show that, in this particular environment, the new interface allows users to make more effective use of major online databases. This is a revised version of a paper which was presented to the 10th Cranfield Conference on Mechanised Information Transfer in July 1986.

This paper adds to the literature on societal grand challenges by shifting the focus away from business firms and other formal organizations as key actors in addressing such challenges toward the inherent organizing capacity that lies in the use of language itself. More specifically, we focus on the organizing capacities of metaphor-based communication, seeking to ascertain which qualities of metaphors enable them to co-orient collective action toward tackling grand challenges. In addressing this question, we develop an analytical framework based on two qualities of metaphorical communication that can provide such co-orientation: a metaphor’s (a) vividness and (b) responsible actionability. We illustrate the usefulness of this framework by assessing selected metaphors used in the public discourse to make sense of and organize collective responses to the Covid-19 pandemic, including the flu metaphor/analogy, the war metaphor, and the combined metaphor of “the hammer and the dance.” Our paper contributes to extant research by providing a means to assess the co-orienting potential of metaphors in bridging varied interpretations. In so doing, our framework can pave the way toward more responsible use of metaphorical communication in tackling society’s grand challenges.

In 2015, Idris Elba declared ‘I’m probably the most famous Bond actor in the world … and I’ve not even played the role’. Speculation about Elba taking on the role of the world’s most famous spy has circulated for over a decade, fuelled by current Bond Daniel Craig’s assertion that the role has ruined his life. This chapter will examine the role of fans in driving hype about the future of Bond, focusing on the case study of alt-right outrage at the potential casting of Elba. The anti-Elba camp have framed their outrage as informed by authorial intent, and the desire to maintain canon, with claims that Ian Fleming’s Bond was, and should always be white and Scottish. Bond’s expansive narrative universe has remained constant since its inception, enabling fans of the series to form an emotional connection and sense of ownership over the text as a cohesive brand, a form of ‘affective economics’ (Hills, 2015; Jenkins, 2006a). By situating the debate over Elba’s suitability within the timeline of the Bond franchise, the author will posit that the rigid casting and structure of the film series to date enables feelings of fan ownership to flourish. Whilst the influence of vocal fan groups has altered the future direction of numerous popular texts, this chapter will suggest that the sameness of Bond-as-brand provides the justification for fan backlash towards potential change. In sum, this chapter will highlight the Elba-as-Bond rumours as a reflection of the contemporary political moment which seeks to flatten out difference under the auspice of protecting the canon and tradition of ‘brand Bond’.