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This chapter examines how the breakthrough of Zhang Ziyi's depiction of a female kung fu master in The Grandmaster (2013) transforms the figure of the heroine in Chinese action films. Zhang is well known for her acting in action films conducted by renowned directors, such as Ang Lee, Zhang Yimou and Wong Kar-wai. After winning 12 different Best Actress awards for her portrayal of Gong Ruomei in The Grandmaster, Zhang announced that she would no longer perform in any action films to show her highest respect for the superlative character Gong. Tracing Zhang's transformational portrait of a heroine in The Grandmaster alongside her other action roles, this analysis demonstrates how her performance projects the directors' distinctive gender viewpoints. I argue that Zhang's characterisation of Gong remodels heroine-hood in Chinese action films. Inheriting the typical plot of a daughter's use of martial arts for revenge for her father's death, Gong breaks from conventional Chinese action films that highlight romantic love during a woman's adventure and the decisive final battle scene. Beyond the propensity for sensory stimulation, Gong's characterisation enables Zhang to determine that women can really act in action films – demonstrating their inner power and ability to create multi-layered characters – not merely relying upon physical action. This chapter offers a relational perspective of how women transform the action film genre not merely as gender spectacles but as embodied figures that represent emerging female subjectivity.

The aim of this study is to provide an understanding of urban Chinese women’s fashion consumption practices in light of major recent socio-historical events and to demonstrate that changes in fashion are not necessarily continuous, but rather can be discontinuous in the wake of radical disturbances.

A phenomenological study was conducted that included group interviews with Chinese women belonging to three age cohorts who experienced different radical changes in recent Chinese history.

This study provides insights into how fashion develops when radical economic and social shifts result in a discontinuous rather than continuous fashion evolution. In China, it can be seen that these radical ideological shifts had discontinuous effects on notions of beauty and how identity is expressed through fashion. The changes seen in the past 60 years or so – from the advent of communism in 1949 until now – cannot be explained by theories of imitation and distinction alone. The changes are also anchored to key socio-historic events, and were not necessarily an outgrowth of the period before, or class-based practices, but rather a response to social upheavals.

This study provides a nuanced understanding of how tumultuous socio-cultural events affect how fashion is experienced in China, which allows us to contribute to the growing understanding of Chinese consumer culture, and demonstrate that the understanding of how fashion evolves needs to accommodate the upheavals in society over the past sixty years.

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.

Given the ongoing globalization debate and lack of agreement about whether consumer cultures are predominantly globalizing, glocalizing, or localizing, the purpose of this paper is to propose a conceptual framework designed to help clarify discussion and facilitate theoretical progress.

By integrating Rosch's categorization theory into the discussion of whether consumer cultures globalize, glocalize, or localize, several propositions can be formulated that help structure this discussion systematically.

It is demonstrated that arguments for global consumer culture (GCC) are most easily made at the superordinate level. However, their strength (versus glocal and local consumer culture) at the basic and subordinate levels is moderated by whether meanings associated with the consumption factor are primarily functional or symbolic.

Future research should empirically validate this initial effort. In addition, scholars should examine from a non‐western centric perspective whether GCC is emerging across the different category levels and meaning systems. Furthermore, emic research is needed to examine the emic meanings of the categories herein.

This proposed framework is also designed for marketing managers as a new tool to facilitate their global strategic planning.

This paper moves the GCC culture debate forward by integrating, for the first time, categorization theory into the discussion. This is of value for both academics and practitioners.

The purpose of this paper is to present a conceptual stage model of education and innovation type. The model depicts the influence of education on innovation and the paper aims to discuss the implications of it for the national competitiveness of China.

The paper presents a newly created conceptual stage model of education and innovation supported by observations and a literature review based on past and present innovation efforts in China.

The paper demonstrates the importance of linking creative education with radical innovation that is associated with higher value‐added economic activities. The findings of the empirical studies to date in China suggest that such a change will not be easy. There is a need to increase the propensity towards creative thought processes even if this is considered “undesirable behavior” both in the Chinese classroom and for the Chinese Communist party. Evidence suggests that without such creativity, self‐initiated radical innovation is not possible across a broader spectrum of the educational system, and that break‐through inventions in value‐added technology and design industries will be limited in China.

The model in the paper is designed to stimulate further research, initiate discussion and encourage action on driving creativity in Chinese educational policy and practices. The paper's analysis and findings will be of interest to managers and government policy makers in China that are charged with developing new programs to spur value‐added innovation. Researchers will find the ideas for further empirical research potentially valuable in helping them to design studies surrounding the phenomena of creativity, education and innovation practices.

The world of the Action Film is a complex one. Whilst explosions may go off around the hero or heroine, skyscrapers crash into rubble, cars smash into one another, or the villain lives to fight on in another sequel, one thing is certain: the action film, loved and loathed in equal measures, remains a staple genre in cinema.

Sylvester Stallone's first appearance as John Rambo in First Blood was in 1982. It seems only logical, then, that this first edited collection in a three-volume publication is dedicated to the first 20 years in which action cinema began in earnest and grew to what it is today. By focusing on the 1980s to 2000, it becomes apparent that the action film is not simply gung-ho heroics played out to an expectant audience. Rather, it is a complex one, and one that demands further investigation.

This cutting-edge collection focuses on such areas of study include new, exciting and bold work on gender linked to vehicles, an LGBTQ+ case study of the Angel trilogy, star studies of Keanu Reeves and Arnold Schwarzenegger, sword and sorcery films, buddy-buddy cop movies, international examinations of action in both the films of Wong Kar-Wei and Colombian national cinema, and much more. Each chapter is housed within an academic framework and in-depth analysis is throughout.

This is the first volume in Emerald Publishing's bold examination of gender in action cinema. The following volumes will look at post-2000 work, focusing on Stars, Warriors, Bombshells and Atomic Blondes, and Transformations in action cinema. Much work has been written on action cinema, but in this collection you will time travel back to two decades in which one of the most spectacular genres erupted onto cinema screens. Whilst the action movie may still have its detractors, this book has been written for you to explore the complexities of gender portrayals in this genre. Above all else, it has been written for you to enjoy.

In this, the exciting first volume of a three-volume edited collection, you will be taken on a gender-focused adventure through action cinema's formative years. Through a series of in-depth case studies and analysis, each chapter focuses on the way that gender has been discussed in such films as the Mad Max franchise, sword and sorcery films, and the Angel trilogy. There are character case studies, including Ellen Ripley in Aliens, Sharon Stone in her ground-breaking work as femme fatale, Arnold Schwarzenegger and Keanu Reeves. We also take you on a journey through the action cinema of Wong Kar-Wai and Action Women in Colombian national cinema. The collection even takes you into the gendered dinosaur world of Jurassic Park. Whilst Action Cinema has often been derided, it has also been celebrated. We hope that this edited collection will make you want to revisit the action movies of the past, whilst we open them up to brand new interrogations.

The purpose of this study is to investigate the development of brand hate based on the case of Italian luxury fashion house Dolce & Gabbana in China.

The strategy adopted in this study is a single in-depth case study. Qualitative methods are applied in both the data collection and analysis.

The findings identified six distinct stages through which brand hate can develop: awareness, anger, amplification, antagonism, action and apathy.

The case is specific to a luxury brand and the Chinese cultural context.

Practitioners need to consider how business strategies can be adapted to manage the six stages of the manifestation of brand hate. A “proactive” approach is needed to avoid arousing brand hate, while a “reactive” approach is needed to manage its potential ramifications.

There has been a paucity of anti-consumption research within the business strategy literature. To the best of the authors’ knowledge, the focus on China makes this the first study to investigate brand hate within a Chinese cultural context.