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With its worldwide fame for making action films, Hong Kong cinema has been defined as masculine. Action films, including the costumed martial arts films and the modern gangster films, have been a major genre in Hong Kong cinema from the 1960s on. Despite the dominant masculinity, women still play significant roles in some of these films. In fact, fighting women leave footprints in the history of Hong Kong cinema, which precede their counterparts in the West and even provide models for Hollywood after 2000.

This chapter focuses on the female characters portrayed by the acclaimed Hong Kong director Wong Kar-wai, whose works have an ambiguous connection to mainstream genres. He modifies Hong Kong action films and creates unconventional female characters such as the drug dealer in Chungking Express (1994), the killer dispatcher in Fallen Angels (1995), the swordswoman in Ashes of Time (1994), and the kung fu master in The Grandmaster (2013). Wong's films have been mush discussed in academia, but the gender images therein are quite ignored. With high intertextuality, these characters are used to question mainstream action films and redefine women's roles in male's cinematic space. In addition, via the writing of these women, Wong constructs an open and ambivalent post-colonial Hong Kong identity. This paper contextualises the figures of sword-wielding and gun-shooting women and examines how Wong Kar-wai deploys these images to articulate the cultural identity of a post-colonial city.

How can leaders adopt a mindset that maximizes learning, remains responsive to short-term emergent opportunities, and simultaneously strengthens longer-term dynamic capabilities of the organization? This chapter explores the organizational decisions and practices leaders can initiate to extend, strengthen, or transform “ordinary capabilities” (Winter, 2003) into enhanced improvisational competence and dynamic capabilities. We call this leadership logic the “jazz mindset.” We draw upon seven characteristics of jazz bands as outlined by Barrett (1998) to show that strategic leaders of business organizations can enhance dynamic capabilities by strengthening practices observed in improvising jazz bands.

This chapter brings together the insights of Stuart Scheingold's work on political criminology and urban social control with subsequent work on the politics of affect or “public feelings.” I argue that Scheingold prefigured the turn to affect in his study of crime politics and that his attention to the way affect-driven politicization plays out differently at different political levels (local, national) usefully complicates the current focus on national politics.

This chapter addresses the shortcomings of current self-efficacy models describing the health information practices of lesbian, gay, bisexual, transgender, queer, intersex, and asexual (LGBTQIA+) communities. Informed by semi-structured interviews with 30 LGBTQIA+ community leaders from South Carolina, findings demonstrate how their self-efficacy operates beyond HIV/AIDS research while complicating traditional models that isolate an individual’s health information practices from their abundant communal experiences. Findings also suggest that participants engage with health information and resources in ways deemed unhealthy or harmful by healthcare providers. However, such practices are nuanced, and participants carefully navigate them, balancing concerns for community safety and well-being over traditional engagements with healthcare infrastructures. These findings have implications for public and health librarianship when providing LGBTQIA+ communities with health information. Practitioners must comprehend how the collective meanings, values, and lived experiences of LGBTQIA+ communities inform how they create, seek, share, and use health information to engage in successful informational interventions for community health promotion. Otherwise, practitioners risk embracing approaches that apply decontextualized, deficit-based understandings of these health information practices, and lack community relevance.

Media power plays a role in determining which news is told, who is listened to and how subject matter is treated, resulting in some stories being reported in depth while others remain cursory and opaque. This chapter examines how domestic violence and abuse (DVA) is reported in mainstream and social media encompassing newspapers, television and digital platforms. In the United Kingdom, newspapers have freedom to convey particular views on subjects such as DVA as, unlike radio and television broadcasting, they are not required to be impartial (Reeves, 2015).

The gendered way DVA is represented in the UK media has been a long-standing concern. Previous research into newspaper representations of DVA, including our own (Lloyd & Ramon, 2017), found evidence of victim blaming and sexualising violence against women. This current study assesses whether there is continuity with earlier research regarding how victims of DVA, predominantly women, are portrayed as provoking their own abuse and, in cases of femicide, their characters denigrated by some in the media with impunity (Soothill & Walby, 1991). The chapter examines how certain narratives on DVA are constructed and privileged in sections of the media while others are marginalised or silenced. With the rise in digital media, the chapter analyses the changing patterns of news media consumption in the UK and how social media users are responding to DVA cases reported in the news. Through discourse analysis of language and images, the potential messages projected to media consumers are considered, together with consumer dialogue and interaction articulated via online and social media platforms.