Steve Greenfield

A DEEPER DIVE INTO THE RISK ASSESSMENTMy new book, The Future of Automotive Retail is out, and last month we introduced the Automotive Ventures Retail Risk Assessment (AVRRA). We've received great feedback on the Risk Assessment but wanted to explore in more depth the trends that have the have the highest probability and potential impact on industry participants. GOAL OF THE AVRRAThe goal of the Automotive Ventures Retail Risk Assessment (AVRRA) is to be able to work closely with the dealer body to develop a roadmap for action: to prepare for and neutralize some of the bigger threats exposed by the Risk Assessment. We hope that monitoring these trends on behalf of the industry will allow participants to be better informed and prepared for the future. Staying vigilant and on top these themes will help industry players stay competitive and ultimately thrive in this accelerating period of change. WRAPPING UPAt Automotive Ventures, we are working with a handful of progressive dealers who aren't shy about embracing a future filled with ambiguity, who believe that having access to early-stage technology startups and innovative entrepreneurs help position them to weather these challenges. If you're a dealer who wants to discuss participating in our new DealerFund, please let me know. If you're an AutoTech entrepreneur working on a solution that helps car dealerships, we want to hear from you. We are actively investing out of the new DealerFund. It's an exciting time for this industry, and I look forward to working with you to create the future.

Law is now being used as a vehicle for behavioural change across a range of policy areas affecting youth sport and is therefore a prime consideration for those involved in the organisation, administration and delivery of youth sport. This book explores the law relating to youth sport in social and political contexts and across a range of international jurisdictions. It considers whether current law, regulation and governance in youth sport is beneficial, explores the benefits and consequences of a `rights-based' approach, and addresses the potential problems of over-regulation. This book is important reading for anyone with an interest in youth sport, sport administration or socio-legal studies.

This book examines the contractual relationships of creative artists within a number of areas of the entertainment industry. Whilst it focuses specifically on football, cricket, boxing and music, developments within other parts of the entertainment business are observed. The book also charts the concessions (artistic, professional and personal) that are often made by such artists in an attempt to achieve success and the consequent legal problems that may arise from their working relationships. Embracing historical materials and current legal practices, Contract and Control in the Entertainment Industry will be of interest to academics and students in the fields of law, sociology and cultural studies. It will also appeal to anyone who is interested in seeing how many areas of the entertainment industry have placed very restrictive contractual controls on the raw materials of the industry - the creative artists.

Described by Richard Sherwin of New York Law School as the law and film movement's 'founding text', this text is a second, heavily revised and improved edition of the original Film and the Law (Cavendish Publishing, 2001). The book is distinctive in a number of ways: it is unique as a sustained book-length exposition on law and film by law scholars; it is distinctive within law and film scholarship in its attempt to plot the parameters of a distinctive genre of law films; its examination of law in film as place and space offers a new way out of the law film genre problem, and also offers an examination of representations of an aspect of legal practice, and legal institutions, that have not been addressed by other scholars. It is original in its contribution to work within the wider parameters of law and popular culture and offers a sustained challenge to traditional legal scholarship, amply demonstrating the practical and the pedagogic, as well as the moral and political significance of popular cultural representations of law. The book is a valuable teaching and learning resource, and is the first in the field to serve as a basic guidebook for students of law and film.

Football in Europe has undergone massive changes over the last decade. Regulating Football gets behind the headlines to look at the impact of ever increasing commercialisation and the commodification of football. The essence of the book is football as it is played, refereed, managed, bought, sold and consumed: the authors capture the life and action of the game as seen from the perspective of the numerous participants and place these experiences within a sociological, economic and legal context which reflects the increasing commodification of the sport. Exploring the ways in which the game is regulated, the authors question whether we have reached the point where commercial issues have superseded the club – and even the game of football itself. The role of players, agents, officials, governing bodies, and the media are all explored. The authors pay attention to levels of violence and racism both on and off the field in both the professional and amateur forms of the game.

This book examines the contractual relationships of creative artists within a number of areas of the entertainment industry. Whilst it focuses specifically on football, cricket, boxing and music, developments within other parts of the entertainment business are observed. The book also charts the concessions (artistic, professional and personal) that are often made by such artists in an attempt to achieve success and the consequent legal problems that may arise from their working relationships. Embracing historical materials and current legal practices, Contract and Control in the Entertainment Industry will be of interest to academics and students in the fields of law, sociology and cultural studies. It will also appeal to anyone who is interested in seeing how many areas of the entertainment industry have placed very restrictive contractual controls on the raw materials of the industry - the creative artists.