Have you ever wondered what has made Mercedes the undisputed kings of Formula One? Do you want to know how Lewis Hamilton has managed to exceed legendary driver Michael Schumacher's record of winning races? And most of all, do you want to find out how to inject that winning streak to your business strategy? In this riveting insider's account of nearly 40 years in the Formula One industry, Mark Gallagher explains what it takes to succeed in a competitive business with high technology, high finance and immensely high stakes. Like any global business, Formula One demands the best from its people. To thrive within it requires impeccable leadership and communications skills. You also need to bring in the ability to design, manufacture, develop and launch a constantly improving high-technology product, constantly working to immoveable deadlines with an immense supply chain and tight regulations. The Business of Winning sets out a one-stop management guide for business leaders keen to emulate this high-speed, high-impact approach to business. This entirely revised new edition unveils how Formula One is using new technologies to finesse the most minute of details, whilst reaching new audiences, playing its part in sustainability with the aim of being carbon neutral by 2030 and showing the way to diversity and inclusion.

Have you ever wondered what has made Mercedes the undisputed kings of Formula One? Do you want to know how Lewis Hamilton has managed to exceed legendary driver Michael Schumacher's record of winning races? And most of all, do you want to find out how to inject that winning streak to your business strategy? In this riveting insider's account of nearly 40 years in the Formula One industry, Mark Gallagher explains what it takes to succeed in a competitive business with high technology, high finance and immensely high stakes. Like any global business, Formula One demands the best from its people. To thrive within it requires impeccable leadership and communications skills. You also need to bring in the ability to design, manufacture, develop and launch a constantly improving high-technology product, constantly working to immoveable deadlines with an immense supply chain and tight regulations. The Business of Winning sets out a one-stop management guide for business leaders keen to emulate this high-speed, high-impact approach to business. This entirely revised new edition unveils how Formula One is using new technologies to finesse the most minute of details, whilst reaching new audiences, playing its part in sustainability with the aim of being carbon neutral by 2030 and showing the way to diversity and inclusion.

Film noir has been understood as a genre exclusive to Hollywood. But classical US noir's downbeat sensibility also finds expression in later films from Japan, South Korea and greater China (including Hong Kong) and Taiwan that have both participated in and been excluded from circuits of global-noir traffic, past and present. Noir is a form of generic expression, an international filmic sensibility and a discourse loosely joining innumerable texts and a range of production and reception phenomena. However defined and categorized, the genre offers a compelling frame through which to view individual works, looming political and cultural contexts, film industry and reception activity, and wider circuits and frictions of global screen-media flow. This anthology looks at a range of East Asian films from the 1950s to the present - including The Crimson Kimono, Brother, Ghost in the Shell, Nowhere to Hide, Duelist and Rebels of the Neon God - that have been explicitly framed as film noir or East Asian noir, or that acquire legibility as noir texts through reception discourse and other critical activity. Contributors look at historical and contemporary cases to understand the terms on which national, regional and transnational cinemas conceive artistic expression. Their conceptualization and articulation of an internationally situated 'East Asian film noir' helps raise questions around the politics of representation, authorial activity, generic and modal positioning and local and cross-cultural reception.

Tony Leung Chiu-Wai investigates the rich, prolific career of an acclaimed leading man of Hong Kong and Chinese film and television: the star of more than 70 films and dozens of television series, and the only Hong Kong actor to earn the Cannes Film Festival's best-actor award. This book addresses the dynamics of media stardom in Hong Kong, mainland China and the East Asian region, including the importance of television series for training and promotion; the phenomenon of regional, transmedia stardom across popular entertainment genres; and cultural and political considerations as performers move among different East Asian production environments. Attentive to Leung's position in both East Asian and global screen cultures, the book addresses relations among acting, global stardom and internationally circulating film genres and acclaimed directors. Overall, this unique study of Leung - who the New York Times calls "one of the world's last true matinee idols" - illuminates challenges and opportunities for Chinese screen actors in local, regional and global cultural and industrial contexts.

How do we determine authorship in film, and what happens when we look in-depth at the creative activity of living filmmakers rather than approach their work through the abstract prism of auteur theory? Mark Gallagher uses Steven Soderbergh's career as a lens through which to re-view screen authorship and offer a new model that acknowledges the fundamentally collaborative nature of authorial work and its circulation. Working in film, television, and digital video, Soderbergh is the most prolific and protean filmmaker in contemporary American cinema. At the same time, his activity typifies contemporary screen industry practice, in which production entities, distribution platforms, and creative labor increasingly cross-pollinate. Gallagher investigates Soderbergh's work on such films as The Limey, Erin Brockovich, Ocean's Eleven and its sequels, Solaris, The Good German, Che, and The Informant , as well as on the K Street television series. Dispensing with classical auteurist models, he positions Soderbergh and authorship in terms of collaborative production, location filming activity, dealmaking and distribution, textual representation, genre and adaptation work, critical reception, and other industrial and cultural phenomena. Gallagher also addresses Soderbergh's role as standard-bearer for U.S. independent cinema following 1989's sex, lies and videotape, as well as his cinephilic dialogues with different forms of U.S. and international cinema from the 1920s through the 1970s. Including an extensive new interview with the filmmaker, Another Steven Soderbergh Experience demonstrates how industries and institutions cultivate, recognize, and challenge creative screen artists.

Film noir has been understood as a genre exclusive to Hollywood. But classical US noir's downbeat sensibility also finds expression in later films from Japan, South Korea and China (including Hong Kong) and Taiwan, that have both participated in and been excluded from circuits of global-noir traffic, past and present. East Asian Film Noir is the first book to explore these films and the filmmakers who made them. Looking at a range of examples from the 1950s to the present - including The Crimson Kimono, Brother, Ghost in the Shell, Nowhere to Hide, Duelist- and Rebels of the Neon God - this work conceptualizes and articulates an internationally situated 'East Asian film noir'. In doing so, it raises fascinating questions around the politics of representation, authorial activity, genre and local and cross-cultural reception.