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We are entering a new era with governmental bodies taking an increasingly guiding role, gaining control of registries, demanding direct access with release of open public information for quality comparisons between hospitals. This review is written by physicians and scientists who have worked with the Swedish Knee Arthroplasty Register (SKAR) periodically since it began. It reviews the history of the register and describes the methods used and lessons learned. Cite this article: Bone Joint Res 2014;3:217-22.

The aim of this paper is to advance the research into the workings of 'corporatist' societies by adding a microeconomic dimension and outlining how such a revised model is applicable to recent Swedish experience. Sweden is often regarded as a corporatist society., that is, one in which policy is the outcome of a 'social partnership' between encompassing groups coordinated by government. This corporatist approach, resting on the existence of a macro‐economic social contract between peak organizations, is complemented here by an analysis of the micro‐level incentives and mechanisms conducive to operating within the corporatist cooperative framework.These characteristics are seen as together constituting what I term the solidaristic market economy, a system of economic relations different in fundamental respects from the two with which we are familiar. While Swedish reality docs not correspond exactly to the economic model set out, the case is made that it is as reasonable to extrapolate from Swedish experience to the solidaristic market economy (and vice versa) as to learn from U.S. experience about the competitive market economy and from the Soviet Union about the command economy.Complemented by these micro‐characteristics, corporatist analysis of economic relations under social‐democratic regimes is thus seen as explaining the resilience of the 'Swedish model'. Rather than in constant peril as critics suggest, the encompassing interest organizations and the patterns of relations among them are characterized by continued solidity in keeping with the operating principles of the solidaristic market economy.

The purpose of the article is to identify the specifics of the development of the producer's activity in cinema in the context of the European cultural space and to outline the vectors of mutual influence of the producer's activity in the countries of the Eurospace and Ukraine. Methodology. In elaborating the topic, the historical method was used to identify the peculiarities of the origin and development of the profession of film producer under the influence of socio-cultural, economic, political factors, in particular, in Ukraine; analytical method and methods of scientific analysis, comparison, generalization, which came in handy in the process of establishing artistic, production, organizational, managerial, financial and economic features of the film producer in the European cultural space. For the sake of art history and culturological aspects of studying the problem, methods of systematization and analysis were used. The scientific novelty of the study is that the origin of the profession of producer in cinema is considered in the context of both European and Ukrainian cultural space, and has become the subject of a special multi-vector study; the content of the concepts of "film producer", "production system" as specific unique integrity and unity of interconnected elements is argued and clarified; the expediency of using the comparative method to study and manifest the peculiarities of production in the filmmaking process of European and domestic cultural space is proved. Conclusions. Acquaintance with the materials of this study enriches the arsenal of knowledge about the origins of the film producer in the culture of film production in European countries and Ukraine and provides a scientific basis for their use in courses on theory and history of culture, including filmmaking, production and directing.

This paper directs the 'visual turn' in criminology to corporate crime, a topic that has been understudied by cultural criminologists. A recent trend of corporate crime movies suggests that film can compellingly critique economic crime and unethical business cultures. This paper studies how law enforcement agencies, in particular competition authorities have connected with this trend by using film in their communicative strategy. This paper introduces the emerging genre of anti cartel enforcement thrillers: regulator-produced realistic docudramas in which fictional cartels are exposed and punished. These films' narratives about cartel enforcement are reconstructed by studying how the films portray cartels, perpetrators and their motives, and the regulator. An analysis of four films produced in four jurisdictions demonstrates that the films deter only to the extent that the local legal and political-economic context allows: the British film reflects that country's neoliberal 'pro-business' climate, while the Swedish film depicts businesses as socially responsible; and the Dutch film is pragmatic rather than moralistic. Only the Australian film is explicitly punitive in its narrative as well as its imaginary, and exemplifies the persuasive potential of film in enforcement.

Der Autor zeigt am Beispiel dreier Filme, wie sich die Konstruktion der nationalen Identität in den USA nach den Terroranschlägen vom 11. September verändert hat: (1) Der Film "Ausnahmezustand" steht für die Zeit vor dem 11. September und für die "alte" amerikanische Identität. Anhand dieses Films wird gezeigt, dass eine Verletzung der verfassungsmäßig verbrieften Rechte in den USA selbst im Falle eines "Ausnahmezustands" als nicht akzeptabel angesehen wurde. Der Film antizipiert jedoch in fiktiver Weise die Ereignisse des 11. September und seiner politischen Konsequenzen und eignet sich daher als Folie, um vor ihm die tatsächlichen innenpolitischen Reaktionen in Amerika nach dem 11. September zu betrachten und somit der Veränderung des gesellschaftlichen Klimas nachzuspüren. (2) In dem Film "Collateral Damage" wird deutlich, dass sich die politische Stimmung in den USA nach den Terroranschlägen grundlegend geändert hat. Der Film mutet dem Publikum eine Sichtweise des Phänomens Terrorismus aus dem Blickwinkel einer Welt vor dem 11. September zu und wurde - gemessen an den Besucherzahlen - dementsprechend auch nicht akzeptiert. Daran lässt sich nach der These des Autors eine Wandlung der US-Identität im Umgang mit Anderen und der eigenen Politik feststellen. (3) Der Film "Black Hawk Down" zeigt schließlich exemplarisch, dass nach dem 11. September Filme gefragt waren, die den Fremden entweder als zweifelhafte und amorphe Gestalt oder als hilfs- und schutzbedürftig darstellen - die Amerikaner jedoch als Verteidiger von Freiheit und Menschlichkeit. "Black Hawk Down" kann daher als Paradigma einer neuen kollektiven US-Identität interpretiert werden. (ICI2)