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The purpose of the paper is to shed light on the output of project management (PM) dynamic capabilities Specifically, the study investigates what effect PM dynamic capabilities have on company performance, both directly and indirectly, through the mediation effect of project and portfolio performance. Additionally, it tests whether program performance might also mediate the relationship.

The hypotheses were tested using partial least squares with a sample of 63 international firms that engage in projects globally.

The main finding of this research is that PM dynamic capabilities do not influence firm performance directly but do so indirectly by increasing firms' performance in projects, programs and portfolios. Both project and portfolio performance have a mediation effect on the relationship between dynamic capabilities and firm performance, but portfolio performance absorbs all this effect when the two performances are in the model.

This paper sheds light on the link between dynamic capabilities and firm performance. It tests the real outcome of dynamic capabilities by making an explicit distinction between firm performance at three intermediate levels (project, program and portfolio) and overall firm performance. Moreover, it opens the black box of dynamic capabilities and empirically operationalizes the theoretical model of sensing-seizing-transforming as the three constituting routines of dynamic capabilities.

Cangaço was a form of banditry that occurred in the North-East of Brazil between 1870 and 1940. The movement has inspired many films over the years. This chapter explores the contribution of Cangaço-inspired productions to Brazilian cinema, as well as the particular characteristics of what constitutes the Cangaço genre.

Following a historical survey of the Cangaço, the films were divided into different categories and ranked in terms of relevance. Only the most important are discussed in this chapter.

The Cangaço has been portrayed in Brazilian cinema through the decades in diverse ways, dating back to the 1920s. After becoming a consolidated film genre in the 1950s, then known as Nordestern, the Cangaço finally acquired a proper structure, featuring multiple Western references among its common characteristics. In the 1960s, Glauber Rocha, one of the most prominent filmmakers of the Cinema Novo avant-garde movement, added his own symbolism to the genre. Eventually, the Cangaço was also revisited by directors who combined it with other genres such as comedy, documentary, and erotic films. Another relevant reinterpretation came in the 1990s, when filmmakers of the so-called New Brazilian Cinema offered a new view on the subject.

Despite its strong association with Brazil, the Cangaço has not been thoroughly investigated by researchers. This chapter presents a historical survey and analysis of Cangaço films, highlighting their relevance to Brazilian cinema.

The “change of sovereignty,” the transfer of Puerto Rico to U.S. rule after Spain’s loss in the Spanish-American War of 1898, could not easily erase centuries of Spanish misrule of its island colony. Nor could it reconstruct an economy based on monocultural agricultural crops. For centuries, ranching and subsistence farming had lured settlers from the coast. Highland towns, founded in the eighteenth century under royal auspices but increasingly isolated and removed from imperial control came to define the peasant, the jı́baro, who though generally slight in stature came to loom large as the cultural backbone of Puerto Rico. Run by ministers of the Spanish monarchy and corrupt and sometimes tyrannical military governors, the island during the 1800s ineptly staggered through sequential agricultural monocultures. Sugar crops tended by coastal workers of mixed African and European backgrounds (with slavery and peonage existing side by side) yielded prominence in mid-century to large-scale coffee plantations in the mountainous interior, attracting capital and labor from the coast as well as from the Spanish homeland. By the mid-1800s U.S. interests had begun to pull on this strategically located military outpost – first through trade and then by conquest and new guardianship.