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The purpose of the paper is to explore how the national, state and organisational health policies in Australia support the implementation of person-centred care in managing chronic care conditions.

A qualitative content analysis was performed regarding the national, state and organisational Queensland Health policies using Elo and Kyngas' (2008) framework.

Although the person-centred care as an approach is well articulated in health policies, there is still no definitive measure or approach to embedding it into operational services. Complex funding structures and competing priorities of the governments and the health organisations carry the risk that person-centred care as an approach gets lost in translation. Three themes emerged: the patient versus the government; health care delivery versus the political agenda; and health care organisational processes versus the patient.

Given that person-centred care is the recommended approach for responding to chronic health conditions, further empirical research is required to evaluate how programs designed to deliver person-centred care achieve that objective in practice.

This research highlights the complex environment in which the person-centred approach is implemented. Short-term programmes created specifically to focus on person-centred care require the right organisational infrastructure, support and direction. This review demonstrates the need for alignment of policies related to chronic disease management at the broader organisational level.

Given the introduction of the nurse navigator program to take up a person-centred care approach, the review of the recent policies was undertaken to understand how they support this initiative.

Pre-existing music has been used to underscore the moving image since the days of ‘silent’ film, and this practice is still commonplace today in Hollywood and beyond. Such music may be ‘classical’ or ‘popular’ and can feature within the narrative of a movie diegetically, non-diegetically, or both. With regard to art music in film, Wolfgang Amadeus Mozart is often the composer of choice, given the popularity and familiarity of many of his compositions. However, his music is employed cinematically in a range of different situations and for a variety of purposes.

In this chapter, I focus on ways in which compositions by Mozart are used to manifest the music and death nexus present in the narrative of three films that were released in different decades. ‘Là ci darem la mano’ from Don Giovanni (1787) features in the first film I analyse, The Picture of Dorian Gray (Albert Lewin, 1945), with the aria being linked to the symbolic death of the moral compass of the protagonist. I then consider the inclusion of music from one of Mozart's symphonies in the storyline of the film Vertigo (Alfred Hitchcock, 1958), the narrative of which includes the themes of deception and murder. The final film I examine is I am David (Paul Feig, 2003), in which one of the characters sacrifices his life to save that of his friend. Each example encapsulates death as embodied affect, with Mozart's music specifically impacting upon the emotions of the protagonists.

This paper highlights the case of David Cooper, a vulnerable adult who was financially abused. It discusses the indicators that may have alerted individuals and services to the risk of financial abuse, and the measures taken by those aware of David's potential vulnerability.

This remembrance discusses the intellectual climate and circumstances under which David Maines came to the Metro Detroit area in the early 1990s. It discusses his impact on graduate students at Wayne State University and how he met the historian Linda Benson whom he would marry. It chronicles his arrival to the Department of Sociology and Anthropology at Oakland University in Rochester, Michigan in 1997, which provided him a well-deserved academic home after his long 25-year journey in academia. Maines was tenured there in 1998, promoted to full professor in 1999 and chaired the department from 2000–2006.

How far is our position within the mental health system ‐ as service user, survivor, carer or practitioner, for example ‐ fixed and defines what we can achieve? Is ‘expertise by experience’ something we all have and can share, irrespective of position, even when it may differ dramatically? Toby Williamson, previously head of policy at the Mental Health Foundation and an experienced practitioner, and David Crepaz‐Keay, senior policy advisor responsible for public and patient involvement at the Foundation and well known particularly within the survivor movement, debate these issues in an open and frank exchange of emails.

The accounts of moral reform that nineteenth-century convicts offered the officials in charge were frequently characterized by such uniformity that it caused Dickens to mistrust their sincerity and to brand them scornfully as “pattern penitence.” Unlike Dickens, however, prison officials were more willing to credit the questionable authenticity of “patterned” repentance. The paper argues that rather than an effect of personal gullibility, reformers’ attitudes can be seen as an outcome of specific interpretative strategies which, in turn, constituted a response to several institutional challenges facing the nineteenth-century Penitentiary.

No one acquainted with the facts that gave rise to the packing‐house scandals of the year 1906 believed that the belated promises of reform then made by certain American meat packers were to be relied upon. Many of these people were threatened with a serious loss of trade, and it was evidently their best policy at the time not too strongly to oppose legislation that was apparently devised to permanently better the conditions in the slaughtering establishments and packing‐houses.

This case demonstrates the difficulties encountered by small family businesses when the founder passes away without having properly prepared for succession. AAA Construction was a company held together for over thirty-six years by a family patriarch, Jack Hudson. His choice of his grandson to succeed him was obvious. However, there were serious questions about whether David Robbins up to the task.