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We said in Chapter 1 that unless hitech and higher—tech are available from the internal research facilities of the corporation/country, they have to be acquired from external source(s) through techtransfer. But there is an inherent conflict in techtransfer. The transferee is with the transferor on technology, but against on trade. Without a definition of techtransfer, protagonists can argue that Malaysia receives excellent techtransfer, while detractors can argue, with equal justification, exactly the opposite. Therefore we need a proper definition of techtransfer: Duplicating on a self‐sustained basis, a foreign process of multiplying manyfold, the output/input ratio in converting physical/mental, matter/energy inputs into directly useable output(s). To assess the role of techtransfer in Malaysian development, it would be instructive to learn from possibly another Developing Asian country with comparable population, size, stability, and geographic location. Since Taiwan enjoyed the current per capita GDP of Malaysia ten years ago, Taiwan techtransfer experience ten years ago would be an instructive parallel for Malaysia today. Since trade is 94.8% of Taiwan GDP, the three leading export industries of Taiwan were chosen‐electric and electronic; textiles, and plastic industries. A sample of eight Taiwanese firms from these industries was selected; so also two multinationals with long‐standing ties with Taiwan. The top management was interviewed in depth on techtransfer as defined above. Six elements of progress and six problems were identified in techtransfer in the mid‐80s. The elements of progress were: (1) Higher‐value manufacture, (2) Spawning of competitive companies, (3) Overseas hitech training, (4) Learning to operate hitech machinery, (5) Indirect acquisition of Know‐Why, and (6) Hitech contacts within the multinationals. The problems were: (1) Manufacturing segmentation, (2) Segmented technical assistance, (3) Overseas manufacture of critical components, (4) Short‐run improvements, (5) Inability to innovate, and (6) Ignored marketing. One of the self‐preservation techniques of the hitech transferor is to provide the glitter and not the gold. If the hitech transferor can make the transferee believe that hitech is transferred in substance while only doing so in form, that would help preserve the former's territory (market) without jeopardizing technology.

In the introduction to Beyond Bombshells, Jeffrey A Brown lists examples of blockbuster films with leading female heroines and proclaims that they have ‘challenged the assumption that action movies are a strictly male domain’ (2015, p. 6). His examples include, but are not limited to, the Kill Bill films (2003, 2005), The Hunger Games (2012), Brave (2012) and Snow White and the Huntsman (2012), all of which demonstrate the rise in popularity of the woman-led action film. However, these films also demonstrate a reluctance of the action film to detach itself from masculinity. Despite their female leads, these action films still foreground masculinity. The films have darker colour palettes and their female leads tend to have masculine coded traits and hobbies, suggesting that women can succeed within this genre only by distancing themselves from femininity.

This chapter analyses the subversion of the genre conventions of action by exploring the use of feminine objects in director Cathy Yan's Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (2020). Written and directed by women, Birds of Prey is a notable turn in the action genre as it makes use of feminine objects (hair ties, glitter, fashion, jewellery) within action sequences that don't just allow a female presence within the action, but centre feminine power. By relocating femininity and masculinity to objects rather than bodies, new ways of understanding how genre conventions are not fixed but fluid are opened up for further exploration.

Reviews the latest management developments across the globe and pinpoints practical implications from cutting‐edge research and case studies.

This briefing is prepared by an independent writer who adds their own impartial comments and places the articles in context.

The Hindi film industry is known affectionately throughout the world as “Bollywood”. All the glitter and glamour of Hollywood can be found in Mumbai (formerly Bombay which provided the “B” in “Bollywood”) along with prolific production surpassing anything Hollywood can hope to attain. While at one time the market for Bollywood films was mainly the South Asian sub‐continent, the last two decades have witnessed an explosive growth in audiences, linked to a rapid increase in sales to overseas markets. There are several factors which may account for this success including economic migration from South Asia to Europe and North America, an increasing interest in Indian culture on the part of Western audiences fueled in part by the success of Anglo‐Indian films such as “Bend it Like Beckham” or “East is East” and the proliferation of satellite television. However, there is what could be perceived as a fly in the ointment of Bollywood's success. The genre of films produced by the major Mumbai studios is very limited, and as such can't hope to rival the more universal appeal of Hollywood films. While the Mumbai film industry demonstrates some aspects of growth and development, these tend to be in the realm of technical expertise. Creativity and experimentation in story line, subject matter or plot development are noticeable by their absence.

Provides strategic insights and practical thinking that have influenced some of the world's leading organizations.

The briefing saves busy executives and researchers hours of reading time by selecting only the very best, most pertinent information and presenting it in a condensed and easy‐to‐digest format.

Does Fortune magazine’s list of the 100 Fastest-Growing Companies have information content; that is, is the list a source for market-beating performance? The paper aims to discuss this issue.

Using data for 26 annual periods, 1991–2016, the paper examines the top 5, 10, 25, 50 and all 100 stocks on a return-risk basis, including an application of Modern Portfolio Theory. To generate portfolio performance metrics, the study uses conventional mean-variance analysis, which includes the estimation of returns and risks, where risk will be measured by standard deviation and β. To arrive at the performance metrics and to determine whether information content is embedded in the list, the study reviews a series of tests. Because Fortune ranks the companies from 1 to 100, the data can be used to test if information content is displayed in sub-groups, such as in the first five to ten companies, even if it does not exist in the 100-stock portfolios.

The study finds that the returns are not high enough nor are the risks low enough statistically to conclude the existence of significant information content.

As part of the authors’ efforts to move to the population of 2,600 firms as closely as possible, the authors use “delisting” returns from CRSP on 120 firms to account for missing observations, with a final sample size of 2,594 firms.

The evidence indicates that investors drawn to Fortune’s “100 Fastest-Growing Companies” should view them skeptically as a source for an effective stock selection strategy.

On the basis of the results of this study, readers will conclude that subscribers drawn to Fortune’s “100 Fastest-Growing Companies” should view them skeptically for investment recommendations. From a portfolio perspective, the study is unable to uncover information content that could lead to a market-beating performance, suggesting that the published criteria Fortune uses to select the Fastest-Growing Companies is embedded in the prices of the stocks even before Fortune publishes its list. The study notes that the selection criteria used by Fortune do involve some judgments on the part of the editorial staff (e.g. whether an announced restatement of previously reported financial data appears to have a significant impact), which means that someone who wished to anticipate the publication of the next list of the “Fastest-Growing Companies” would not only have to gather information but would also have to correctly anticipate these judgment calls.

The colour schemes possible with seamless flooring and walling systems which incorporate coloured flakes have now been widely extended by the introduction of BCC silver and gold glitters. These materials are small squares of coated metallic foil. They can be either mixed in with the coloured flakes to give highlights or be used on their own to give startling effects.

The system for the provision of supplies in the UK National Health Service is being continually ‘redisorganised’ in an effort to improve efficiency and get better value for money. Alongside these reorganisations, the regulation of the supply of pharmaceuticals to the NHS is also being altered. What are the differences between these two processes and can any obvious lessons be learnt from the ways in which the NHS seeks to control the prices, qualities and quantities of products in these two closely related areas of supplies?

More and more organisations are seeking both quality awards and accreditation to enhance their competitive edge. In this article, the authors unwrap the ‘shiny paper’ that surrounds these quality awards.

Reports from the south‐east of England that housewives have been purchasing packets of “ glitter ” consisting of powdered glass, lacquered, coated with silver and sometimes dyed, for the purpose of decorating their cakes makes one wonder seriously whether we Britons are any more of a thinking race than our coloured brethren of London and other large centres, who report has it, consume large quantities of canned cat and dog meat as a sandwich spread. In the first case, although the so‐called “ glitter ” was never prepared for use as a cake decoration, the manufacturers concerned have given an assurance that in future packets will be labelled that the contents are not for eating !

With Singapore's multi‐racial heritage and colourful history making it such a fascinating place to explore, its choice by Cahners as a venue for this biennial exhibition is a fortunate one in terms of interest and enjoyment for the overseas exhibitor or visitor — providing, that is, one's business schedule does not preclude a little time for soaking up the atmosphere of this cosmopolitan metropolis. On arrival, one is struck first by the lush tropical surroundings so close to the commercial heart of the city, with the glittering facades of its shopping centres, its modern high‐rise offices and apartments, and then by the intriguing blend of races and cultures, and the variety of architecture and traditions found in the small pockets that remain of old Singapore — traces of its British colonial past, its unique Straits‐born Chinese heritage, the Arab Muslim traders who arrived in the 13th century, and the migrant settlers from India and the nearby Malay archipelago.