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The presence of mature masculinity is slowly reshaping contemporary action cinema in the twenty-first century. It is a phenomenon that rejects the unrealistic view that action heroes are embodiments of Apollo and Ares in human flesh. Instead, action heroes are viewed as flawed characters who cannot escape the realities of their corporeality, mortality and humanity. The following chapter is an examination of a particular type of action hero archetype that combines ageing with virtuous and mature masculinity. Here I use Tom Cruise's development and portrayal of Ethan Hunt in the Mission: Impossible series as a lens through which to highlight the presence of the virtuous and mature hero archetype in action cinema.

Cruise's representation of heroic masculinity is significant because it achieves three separate goals. First, Cruise's mature masculinity repudiates the hardbody model by showing its deficiencies as a male archetype. Second, it introduces a version of an action hero that emphasises the benefits of ageing and mature masculinity. Lastly, Cruise's onscreen presence redoubles the idea that heroic masculinity is motivated by a deep sense of morality, duty and a desire to serve the greater good. As the model of the mature and virtuous hero becomes more prevalent, as I argue, it not only reshapes action cinema but also produces cinematic representations of heroic masculinity that are more positive in terms of showing the importance of maturity, virtue, and public service.

In the context of celebrity endorsement, this study aims to demonstrate that the ways in which consumers adopt moral reasoning strategies (i.e. rationalization, decoupling and coupling) are largely dependent on the severity (i.e. high vs low) of celebrity transgressions and the degree to which they personally identify with the celebrity.

A between-subjects online experiment (N = 144) with two conditions, representing high- and low-severity celebrity transgressions, was conducted. Participants’ attitudes toward the celebrity and endorsed brand, their purchase intention for the endorsed product and the degrees to which they identified with the celebrity and adopted the three types of moral reasoning strategies were assessed.

The rationalization and decoupling strategies mediate the effects of highly negative information about a celebrity on consumer attitudes toward the celebrity and endorsed brand as well as on purchase intention for the endorsed product. In addition, consumers who identify strongly as fans of the celebrity in question are more likely to activate rationalization and decoupling strategies to process and evaluate transgressive behaviors than those with weaker fan identification.

By exploring the ways in which moral reasoning and fan identification work in processing negative information, this study provides insights into the psychological process through which negative news coverage of a celebrity endorser influences consumer attitudes and purchase intention.

We explore how marketers can manage brand meaning through the use of celebrity endorsements. We theorize that consumers look to celebrity endorsements for brand symbolism, which they appropriate to construct and communicate their self-concepts by forming self-brand connections (SBC).

This research employs an experimental paradigm, with two empirical studies examining whether marketers can create meaning for their brands through the use of celebrity endorsements.

Study 1 finds that celebrity endorsement enhances SBC when consumers aspire to be like the celebrity, but harms them when consumers do not; furthermore, this effect is more pronounced when the brand image is congruent with the celebrity’s image. The effect is further moderated by the degree to which a brand communicates something about the user, with more symbolic brands having stronger effects than less symbolic brands. Study 2 finds that the effect of celebrity endorsement on SBC is augmented when consumers’ self-esteem is threatened. Consumers self-enhance by building connections to celebrities with favorable images or distancing themselves from those with unfavorable images.

These findings can help marketers’ decisions regarding when and whom to use as a celebrity endorsers by taking into account how consumers use meaning appropriated from celebrities when constructing the self.

IN the present paper an attempt has been made to determine the optimum aspect ratio, wing loading and fuel load ratio under certain specified design conditions. Aeroplanes with turbojet as well as with airscrew propulsion have been considered.

The utterly un-nostalgic person is probably a non-existent being. At both a personal and collective level, we explore how nostalgia is experienced and in demand during times of transition, disjuncture, conflict and uncertainty. This chapter explores the emotion of nostalgia and connects it specifically to the current corona pandemic – the challenges of lockdowns and social distancing measures on interaction, feelings of loneliness and a generalised sense of uncertainty and despair, and also a rise of nostalgia as a possible response to these challenges. The predominant view of nostalgia put forth in this chapter is that nostalgia has the capacity to provide a great deal of benefit (meaning, hope, direction and purpose) to individuals, groups, institutions and societies at large. Indeed, nostalgia can be a tranquil feeling in a fearful world. We relate nostalgia to studies and experiences from the pandemic period and speculate on how the so-called ‘corona crisis’ may impact feelings of nostalgia in the post-pandemic world – perhaps even a nostalgia and longing for the pandemic period itself.

If the corona pandemic has in fact sparked a new (or renewed) interest in nostalgia in contemporary society due to the corona pandemic, it may indeed prove to be a positive thing, particularly if it makes it easier for people to deal with current feelings of adversity and anxiety. We suggest the nostalgia mood that is generated and perpetuated by the continuing twists and turns of the corona pandemic may – in the short and long run – prove useful in coping with and giving meaning to the problems and perplexing circumstances of life, rather than being a regressive phenomenon. Perhaps, something good may, in the end, grow from something bad?

Although very much in vogue in both academic discourse and practitioner rhetoric, presents a case for a need to be concerned over the use of the “R” (relational) word in marketing. But even this needs to be implemented with caution and sensitivity as evidence on how consumers react to the approach shows. In an era of self service and disintermediation, marketers are increasingly turning to customer data instead of the tacit understanding of customers they used to possess when interaction was on a more personal basis. There are, however, concerns over the nature of the data collected and the way in which it is used, that lead to a proposition that relationship marketing can be an oxymoron. Also, however, suggests a number of compromise solutions in an era in which marketers are unlikely to abandon the paradigm. If marketing reverted to earlier paradigms rather than promising cynical consumers a “relationship”, perhaps all parties might actually start to gain more trust in each other. Personal rather than relational interaction would indeed be more pragmatic.

A young man plucks information from digital data streams; a woman leaves digital clues about herself online – no screen, keyboard, or cable in sight. Characters found in TV series like Alphas and Heroes offer only two examples for a (fairly) new superpower that has been added to the catalogue of abilities for action heroes: that is, they have the power to manipulate digital information, and hacking into systems without using any kind of device.

This chapter analyses which visual mechanisms are used to convey these ‘new (media) superpowers’ by focusing primarily on Alphas and Heroes and considers them important predecessors for filmic examples. Such analysis will examine ideas about their transmedia extension as well as real-life developments in the field, such as specific hand movements that remind the viewer of the ‘Apple Swipe’ or social media trends. Combining theoretic approaches of cultural, television and media studies, this chapter discusses the ‘wireless’ connection between the new (super)heroes, their televised abilities, and the (online) audience, which also allows for a projection of (possible) future developments.

This paper focuses on the problems that arise when there is a power asymmetry between buyers and suppliers that is further complicated by risk and uncertainty. The case study analyses the film or movie industry supply chain and the power regime within it. The paper shows that relationships and contracts in the industry are structured to reflect the dominance of key players seeking to protect their own interests at the expense of others. It is argued that this problem of supplier self‐interest is reinforced for buyers in circumstances of uncertainty with high levels of pre‐ and post‐contractual risk. Buyers must enter into collaborative relationships with their suppliers to minimize risk and uncertainty, but the suppliers can appropriate a disproportionate share of value if a project is successful with the buyer taking all of the upfront risk.