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An earlier study of health and social services professionals in community teams for people with intellectual disabilities (CTIDs) identified a number of significant gaps in their knowledge of mental capacity issues. The present study aims to ascertain the knowledge of staff working in residential services for people with intellectual disabilities.

Participants were staff working in three specialist residential settings catering to people with intellectual disabilities: qualified nurses working in the UK National Health Service (NHS) and in independent‐sector continuing health care settings; and senior staff in residential houses. They were administered the same structured interview as in the earlier study, which was constructed around three scenarios concerning a financial/legal issue, a health issue, and a relationships issue, as well as a set of ten “true/false” statements. Their performance was compared with that of two reference groups, the earlier CTID participants, and a group of staff working in generic (i.e. other than specialist intellectual disability) NHS services.

No differences in interview performance were found between the three groups of residential carers, who performed better than generic NHS staff but worse than CTID professionals. However, the three residential groups did differ in their self‐ratings of how well‐informed and confident they felt in relation to mental capacity issues.

The study shows that staff working in residential services for people with intellectual disabilities have only a limited understanding of mental capacity issues and their confidence in their own knowledge may not be a good guide to their ability to deal with such issues when they arise in practice.

Electronic‐retailing is the buzzword of 2000. Every other press release I receive relates to electronic commerce or Internet shopping. Therefore, it seems appropriate to focus this summer issue of Retail Insights on the subject. The first article by Rowley discusses the phenomenon of shopping bots, the intelligent agents designed to support comparison shopping across a number of Internet sites. She reviews the functions and evaluates the coverage of different shopping bots. In the second article, Wee and Ramachandra assess the level of cyberbuying activities in China, Hong Kong and Singapore by concentrating on the who, why and what of online retailing.

Our chapter explores the impacts of genderwashing practices within Hockey Canada (HC), a national organization that governs major and minor hockey leagues in Canada. A 2018 case involving allegations of sexual assault by members of the U20 junior men's hockey team acted as a catalyst to expose HC's organizational practice of silencing victims and covering up bad behavior. Through the application of media content analysis, we argue that HC's responses to the case (financial settlements, Nondisclosure Agreements, and a new educational and training program) reflect genderwashing practices and exemplify a superficial attempt to address sexual violence within the organization. What results is a culture of silence, poor leadership, and the normalization of violence within HC. Our chapter contributes to the genderwashing literature, through the development and application of genderwashing as a conceptual framework that can be applied to responses to allegations of sexual assault.

New circus explores a wide range of contemporary global and existential questions. From the dystopian performances of pioneering French new circus Archaos, and the ongoing social justice agenda of Circus Oz, to the themes of social decay and environmental degradation in Oozing Future’s 2019 production Autocannibal, new circus has sought innovative ways to challenge and confront audiences mediated by the human body. With a focus on emotive narrative representations of risk and death, this qualitative research examines the interaction of embodied movement and music in Zebastian Hunter’s Lacanian-inspired Empty Bodies and the author’s development of a circus opera, The Blood Vote. The immediate and embodied artforms of music and circus combine to engender a non-literal, yet powerful, form of speech surrogacy that communicates meaning and emotion, so we are reminded that anything is possible, not least of which is the illusion of the victory of life over death that circus performance itself embodies. Death is ever present in life, a fact we try to repress; circus confronts the audience with the undoing of this repression: we are going to die. This is what captivates us. In this way, contemporary new circus functions as an important signifier of meaning in contemporary performing arts.

Work on repression within the social movements literature has largely focused on state-based and coercive repression, despite both the empirical importance of private and non-coercive forms of protest control and the theoretical leverage studying other forms of protest control could offer. This paper argues that scholars should shift from studying repression, which as a terminology carries connotations about state-based and coercive action, and instead focus on the “social control of protest.” The paper then manufactures a literature on private forms of protest control, culling existing work from disparate fields and literatures. These works are organized using a previously published typology of repressive forms that covers such diverse actions as vigilantism and countermovement violence. This organization reveals that empirical research has been done on private protest control even if it has not been named as such or been connected to a coherent body of scholarship on the subject. The paper then examines possible directions for future research that could facilitate the growth of scholarship on private protest control.

MANY WRITERS have something to say to us; a few speak to one's condition. For some of us, of this time and place, James Kennaway was one of those few, and this is why news of his death in December 1969 had for many people to whom he was known only through his work the impact, almost, of a personal loss.

This is a comparison of the emotions we have in watching a movie with those we have in everyday life. Everyday emotion is loose in frame or context but rather controlled and regulated in content. Movie emotion, in contrast, is tightly framed and boundaried but permissive and uncontrolled in content. Movie emotion is therefore quite safe and inconsequential but can still be unusually satisfying and pleasurable. I think of the movie emotions as modeling clay that can symbolize all sorts of human troubles. A major function of movies then is catharsis, a term I use more inclusively than usual.

Throughout I use a pragmatist approach to film theory. This position gives the optimal distance to the study of ordinary, middle-level emotion. In contrast psychoanalysis is too close and cognitive theory too distant. This middle position is similar to Arlie Hochschild’s symbolic interactionist approach to the sociology of emotions, which also mediates between psychoanalysis and cognitive theories.