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In 1960, Alfred Hitchcock’s Psycho stunned both the cinema-going public and critics alike. Its tale of a young, genial, likeable and mother-fixated hotel proprietor – Norman Bates (played by Anthony Perkins) – whose psychotic tendencies and fractured personality tapped into the zeitgeist of an America changing in a post-World War II world, was very much the antithesis of rock ‘n’ roll rebels like Elvis Presley and James Dean. Norman Bates was Anthony Perkins and Anthony Perkins was Norman Bates.

In 2013, Norman resurfaced from numerous remakes in Bates Motel. With its nod to the past, and a look to the future of how Norman’s story pans out, the series’ narratives, characters and situations showed there was life for him, his mother and the motel beyond cinema.

This chapter examines how Creed’s ideas of ‘Monstrous’ can be overlaid onto Norman, his mother Norman and Bates Motel.

The popularization of slasher as subgenre begins with the release of The Texas Chainsaw Massacre (Hooper, 1974) and Halloween (Carpenter, 1978). Both films serve to define the topic of the subgenre: a serial killer that often slaughters groups of teenagers, especially attractive young women, using bladed weapons (Linz & Donnerstein, 1994; Molitor & Sapolski, 1993, 1994). Thus, although the definition of the slasher is not really fixed in terms of gender, the killers have been traditionally interpreted by men, while the victims have been usually interpreted by women (Clover, 2015; Trencansky, 2001; Weaver et al., 2015). Not for nothing, another important character is the final girl, who uncovers the monster´s motivations and finishes the killer off in the final scene; an important role that is actually a form of female subjugation. However, some exceptions can be found such as Pamela Voorhees (Friday the 13th, Cunningham, 1980), but she is simply defined as Jason´s mother. More interesting is the case of the Scream saga, in particular Scream 4 (Craven, 2011) where a teenage girl, portrayed by Emma Roberts, tries to play the role of the killer and the final girl at the same time.

In recent years, the slasher has gained importance in television. After Harper’s Island (CBS, 2009), an homage to the subgenre rather than a real slasher TV show, in 2015, MTV launched Scream, based on the film series and which continues exploring the gender roles anticipated by the last movie of the saga. In the same year, Fox launched Ryan Murphy’s Scream Queens (2015–2016) starred by Jamie Lee Curtis, the final girl of Prom night (Lynch, 1980) and Halloween saga, and Emma Roberts. In this regard, current television tries to renew the slasher, but starting from the clichés and even some familiar faces of the subgenre.

The purpose of this chapter is to evaluate the representation and evolution of female characters in slasher television series, exploring the relationship among the killer, the final girl and the rest of the victims. In this way, television series like Scream, Scream Queens (Fox, 2015–2016) or Slasher (Super Channel, 2016–) are analysed.

Since the turn of the Millennium, horror has had a resurgence both in cinema and in television. With programmes like The X-Files and Buffy the Vampire Slayer paving the way for other horror shows such as The Walking Dead, American Horror Story and Penny Dreadful, this introduction discusses the way that TV has become a bedrock of new, exciting, vibrant and bold horror productions.

The College of St. Germain is a private, liberal arts college in the U.S. Midwest. Several faculty members developed and launched an academic business and economics conference. Despite of a lack of funding from the college, and a general apathy among other colleagues, the conference became financially self-sufficient and grew each year, with increasing attendance and submissions from many international scholars. Part A of the case focuses on the beginning, planning, and growth stages of the conference, and culminates with the successful conclusion of the third annual conference and planning for the fourth conference. Part B focuses on the fourth and fifth conferences, and concludes with the surprising cancellation of the sixth annual conference. The case highlights the challenges and accomplishments of the conference chairpersons and the organizing committee, as well as management, marketing, and leadership factors that contributed to the ultimate demise of the conference.

The virtual organization is upon us, or so we are led to believe. No longer will we have to worry about finding enough space for so many workstations, as people will be sitting in cyberspace waiting either to send or receive their next communication. It will not matter where in the universe someone is, provided that they can communicate. People will be working in physical isolation, but this does not matter as they can, yes you’ve guessed it, communicate! There is no doubting that communicating is good and absolutely necessary, but it is quality of communication which is needed, not just any old garbled message. Are standards of communication deteriorating? The media by which we are sending messages are improving, of that there is little doubt, but it is the content and usefulness of this content which must be brought to question.

Compiled by K.G.B. Bakewell covering the following journals published by MCB University Press: Facilities Volumes 8‐18; Journal of Property Investment & Finance Volumes 8‐18; Property Management Volumes 8‐18; Structural Survey Volumes 8‐18.

Compiled by K.G.B. Bakewell covering the following journals published by MCB University Press: Facilities Volumes 8‐17; Journal of Property Investment & Finance Volumes 8‐17; Property Management Volumes 8‐17; Structural Survey Volumes 8‐17.

Index by subjects, compiled by K.G.B. Bakewell covering the following journals: Facilities Volumes 8‐18; Journal of Property Investment & Finance Volumes 8‐18; Property Management Volumes 8‐18; Structural Survey Volumes 8‐18.