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In the present chapter, we present the case study of the only woman film director who has ever won an Academy Award for Best Director, Kathryn Bigelow. We analyzed 43 written interviews of Kathryn Bigelow that have appeared in the popular press in the period 1988–2013 and outlined eight main themes emerging regarding her exercise of leadership in the cinematic context. We utilize three theoretical frameworks: (a) paradoxical leadership theory (Lewis, Andriopoulos, & Smith, 2014; Smith & Lewis, 2012); (b) ambidextrous leadership theory (Rosing, Frese, & Bausch, 2011), and (c) role congruity theory (Eagley & Karau, 2002) and show how Bigelow, as a woman artist/leader working in a complex organizational system that emphasizes radical innovation, exercised paradoxical and ambidextrous leadership and challenged existing conventions about genre, gender, and leadership. The case study implications for teaching and practice are discussed.

Inspired by an exciting revival of interest in the working methods and processes of the creative arts, the purpose of this paper is to make use of the auteur approach to film production, to further develop knowledge about sensuous methodologies in qualitative research.

An exegesis of the authors’ particular experiences in producing and disseminating a short documentary film is used to construct a framework from which to analyse affective modes of engagement within the parameters of qualitative research.

Qualitative researchers are characterised as creative artists who bring their precise aesthetic choice to bear on an audience through a mix of technical competence, distinguishable personality and interior meaning.

One way for qualitative research to have affective impact is to use the working methods and procedures of the creative arts.

A research culture is required where risk is permissible and engagement with the creative arts is given greater recognition in future qualitative projects.

As a mode of creative arts enquiry, film making can allow a degree of the emotional meaning and feeling within a study to come through into the analysis and the viewer's/reader's affective experience. This is often difficult to come by in more scientifically‐driven research approaches.

Building strong human brands inscribed in social and symbolic recognition is a strategic issue for branded individuals. In the context of film director human brands, this study aims to examine the respective influences of the economic and critical performance of films, on the one hand, and the professional legitimacy bestowed by internal stakeholders, on the other, on changes in human brand identity. Contrary to what is generally believed, it shows that the specific legitimacy bestowed by producers and the institutional legitimacy bestowed by elite peers mediate the effects of performance on changes in human brand identity. Brand extension (i.e. new films) incongruence and initial human brand identity moderate the effect of performance on legitimacy.

This study is applied to film director human brands and to their extensions through the films they make. Data were collected for 81 films, including information before and after the brand extension occurs, to capture changes in human brand identity and extension effects.

The results show that economic performance influences both specific and institutional legitimacy, whereas critical performance only impacts institutional legitimacy. These relationships are moderated by initial human brand identity and congruence. Both types of professional legitimacies also help reinforce human brand identity.

The study challenges the role of performance on the building of human brand identity and shows that the latter is co-constructed by the branded individual and internal stakeholders. It also enhances the key roles of global incongruence and genre incongruence in the model.

Author information is one of the primary metadata elements for information access. While assigning “author(s)” has been relatively straightforward in library systems for textual resources, challenges have emerged in recording creatorship information for collaborative creative works, with surrogates erring on the side of caution and providing little information. This study aims to present improvements to the conceptual understanding of collaborative creatorship and relevant cataloging practice in video games.

The current study is a theoretical investigation of the authorship role of individuals in collaborative creative works, using video games as a case study. The investigation is based on the literature on video game user needs and authorship theory.

Reviews of literature present a disconnect between video game information user needs and currently available author information in library systems. Further analysis of the author/creator concept reveals insufficiencies in adopting auteur theory as the theory is applied to film. Exploration of access practices for other large collaborative creative products and an analysis of user tasks show potentially fruitful directions for future studies. This study recommends identifying primary roles that individuals adopt in video game creations and leveraging crowdsourced-creator information in library databases to enhance the visibility of author information for video games.

By incorporating authorship theories and research from various domains such as film studies, intellectual history and library and information science, this study provides interdisciplinary, theoretical considerations as well as practical suggestions to enhance the current cataloging practice.

The purpose of this article is to give an overview of scholarly monographs on rock music from 1980 to the present. It aims to provide an overview to the literature for practical purposes of collection development as well as giving the reader insight into key issues and trends related to a interdisciplinary topic that attracts scholars from many disciplines in the humanities and social sciences.

This bibliographic essay, focusing on works related to American culture and of a general nature, includes an overview and historical background; a discussion of how music and ethnomusiciological scholars approach the topic; geographic approaches; literature on four key icons (Elvis, Dylan, Springsteen, and Madonna); American studies; subcultures and genres; other methodologies; and concludes by discussing notable recent works.

The scholarly literature on rock incorporates a wide variety of approaches and methodologies. Many music‐related scholars appropriate methodology from other disciplines and some non‐music‐related scholars use the formalistic analysis of music scholars. Authenticity is a major theme in the literature on rock.

This essay covers the widest range of monographs on the topic, providing insight into not only the key scholars but also the diversity of approaches to the topic. The historical approach to the literature gives the reader a sense of how the academic discourse on rock has evolved. This essay is of interest to librarians, scholars of rock music, and others concerned with how American scholarship in the humanities and the social sciences has grown since the advent of cultural studies.

Because we lack a usable definition of the concept of style to inform research on the creative industries, this chapter takes a first step toward developing a style-based perspective on them. The use of style in disciplines where the study of creative industries occupies a notable position (sociology, anthropology, cultural studies, and management) is compared and contrasted with a series of related concepts (status, fashion, trend, genre, movement, and category). Style is defined as a durable, recognizable pattern of aesthetic choices. Propositions that relate style to an organization’s creative performance are formulated for two types of audience: insiders and outsiders.

Mastering aesthetics is a precious source of competitive advantage in creative industries. In fashion, innovation is reflected by how and how much styles change. Elite designers claim to be the only endogenous force shaping fashion innovation season by season. Yet, each season, fashion critics vet the new collections these designers introduce, assessing what is original as opposed to reworked and uninspired, in this way playing a fundamental role as gatekeepers in setting taste within the industry. In this research, we document how stylistic innovation, vis-à-vis the styles premier design houses introduced each season, is impacted, among the others, by the specific exogenous force of critics' assessments of designers' past work. Our data, which include 61 measures detailing the styles introduced by 38 prestigious Italian and French design houses over a nine-year period, suggest designers move further away from styles reviewed less favourably while adhering more closely to styles reviewed more positively. Additionally, the styles a designer introduces are shown to depend on critical assessments of competing designers' styles, revealing how design houses attend to each other's work. This work documents the strong correlation between style dynamics and critics' feedback. It also has important implications for any company trying to find a balance between independence and conformity in setting its own unique positioning into the market.