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Jon Birger Skjærseth
Tora Skodvin

2543Chap4 16/7/03 9:58 am Page 74 4 The Corporate Actor model The previous chapter demonstrated the striking differences in the climate strategies of ExxonMobil, the Shell Group and Statoil. While ExxonMobil has adopted a reactive strategy, Shell has chosen a proactive response, and Statoil has adopted a strategy representing a hybrid between these two positions. In this chapter we explore the explanatory power of the approach we have labelled the Corporate Actor (CA) model. To recapitulate our discussion from chapter 2, the CA model suggests that

in Climate change and the oil industry
Carmen M. Mangion

6 Building corporate identity The evangelical revival of the late eighteenth century made religion the central focus of middle-class culture and located the family unit at the centre of religious faith and morality.1 The family discourse that evolved from this revival in the next century incorporated many related themes: the centrality of the home, the primacy of a domestic ideology and the gendered nature of the public and private spheres.2 These themes were the focus of a domestic literature which set out to propagate the civilising effects of family life

in Contested identities
Offline and online games, branding and humanitarianism at the Roskilde Festival
Lene Bull Christiansen
Mette Fog Olwig

causes and commercial interests, e.g. via corporate social responsibility (CSR), cause-branded products or philanthropy. 2 Critiques of the popular characteristically draw on various theoretical and analytical approaches, such as critical discourse analysis, Žižekian ideological critique and/or grounded critical analytics. 3 These analyses often echo critical approaches to popular culture in media

in Global humanitarianism and media culture
A new architecture of regulatory enforcement
Series: Irish Society

This is the first definitive examination of the practice of corporate regulation and enforcement from the foundation of the Irish State to the present day. It analyses the transition in Ireland from a sanctioning, ‘command and control’ model of corporate enforcement to the compliance-orientated, responsive regulatory model. It is also unique in locating this shift in its broader sociological and jurisprudential context. It provides a definitive account of a State at a critical stage of its economic development, having moved from an agrarian and protected society to a free-market globalised economy which is trying to cope with the negative aspects of increased corporate activity, having experienced an economic boom and depression in a remarkably condensed period of time.

Traditionally, corporate wrongdoing was often criminalised using conventional criminal justice methods and the ordinary police were often charged with the responsibility of enforcing the law. Since the 1990s, however, the conventional crime monopoly on corporate deviancy has become fragmented because a variety of specialist, interdisciplinary agencies with enhanced powers now address corporate wrongdoing. The exclusive dominance of conventional crime methods has also faded because corporate wrongdoing is now specifically addressed by a responsive enforcement architecture, taking compliance orientated and sanctioning approaches, using both civil and criminal enforcement mechanisms, where criminal law is now the sanction of last resort.

Anandi Ramamurthy

India and Pakistan in 1947, followed by independence for Burma and Ceylon a year later. This was to have a profound impact on the general belief in the legitimacy of Empire. It was a period of intense flux and political change in the colonies and the producers of commodities for mass consumption shied away from representing black people to the British consumer. Many corporate advertisers, however, chose to

in Imperial persuaders
Reconfigurations of twenty-first-century audiences
Liz Tomlin

6 From spect-actor to corporate player: reconfigurations of twenty-first-century audiences In Theatre and Audience, Helen Freshwater notes the ‘extraordinary increase’ in the use of participation in new British (and I would add European) performance practices in recent years (2009: 4). In this chapter, I will examine the different ways in which certain recurring models are seeking to enable the spectator to co-author the event, and become an active participant in the performance text, in order to offer an experiential real in place of the representations

in Acts and apparitions
Stuart Hodkinson

3 Partners for improvement? Corporate vandalism in Islington and Camden Having seen how the PFI public housing regeneration programme emerged under New Labour after 1997, this chapter tells the story of residents’ experiences of PFI schemes in the neighbouring north London boroughs of Islington and Camden. In Islington, PFI was selected as the regeneration vehicle for the thousands of street properties in the borough municipalised during the 1960s and 1970s, with the works divided into two separate contracts: PFI-1, which started in 2003; and PFI-2, which

in Safe as houses
Corporations, Celebrities and the Construction of the Entrepreneurial Refugee Woman
Annika Bergman Rosamond
Catia Gregoratti

secure costumers’ loyalties ( Richey and Ponte, 2011 ; Tornhill, 2019 ). Female celebrities have also sought to use their visibility and fame to address the specific needs of women and girls in the global South and conflict zones, often locating their activism within notions of maternal care and cosmopolitanism ( Bergman Rosamond, 2016 , 2020a , 2020b ). Our focus on corporate and celebrity humanitarianism is thus intended to bridge and speak to strands of feminist

Journal of Humanitarian Affairs
Abstract only
Crude Metonymies and Tobe Hooper‘s Texas Chain Saw Massacre (1974)
Chuck Jackson

My analysis of Tobe Hooper‘s Texas Chain Saw Massacre centralizes the films political setting: an early 1970s Texas gas station that has no fuel and that offers only death to those who assume petroleums easy purchase. Such a move shifts critical attention from the film‘s monstrous bodies to its Gothic economy and the dead ends of corporate US oil culture. In Chain Saw, metonymies of blood and oil signify not only the material history of Texas oil and the seemingly unstoppable machinery of capitalism, but also the tremendous gap – or ‘gulf ’ – between human and nonhuman persons.

Gothic Studies
Neoliberalism, Zombies and the Failure of Free Trade
Linnie Blake

The popular cultural ubiquity of the zombie in the years following the Second World War is testament to that monster‘s remarkable ability to adapt to the social anxieties of the age. From the red-scare zombie-vampire hybrids of I Am Legend (1954) onwards, the abject alterity of the ambulant dead has been deployed as a means of interrogating everything from the war in Vietnam (Night of the Living Dead, 1968) to the evils of consumerism (Dawn of the Dead, 1978). This essay explores how, in the years since 9/11, those questions of ethnicity and gender, regionality and power that have haunted the zombie narrative since 1968 have come to articulate the social and cultural dislocations wrought by free-market economics and the shock doctrines that underscore the will to global corporatism. The article examines these dynamics through consideration of the figure of the zombie in a range of contemporary cultural texts drawn from film, television, graphic fiction, literature and gaming, each of which articulates a sense not only neo-liberalism itself has failed but simply wont lie down and die. It is therefore argued that in an age of corporate war and economic collapse, community breakdown and state-sanctioned torture, the zombie apocalypse both realises and works through the failure of the free market, its victims shuffling through the ruins, avatars of the contemporary global self.

Gothic Studies