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Jordan Peele’s critically acclaimed directorial debut Get Out (2017) highlights the issues regarding racism and Black identity that have seldom been the subject of horror film. More specifically, Get Out offers representations of Black masculinity that push against the stereotypical and reductive ways that Black men have often been depicted in horror cinema. The portrayal of Black men in Get Out takes shape in ways influenced by a range of relationships featured in the film. Amongst these is the dynamic between the leading character Chris (Daniel Kaluuya) and his white girlfriend Rose (Allison Williams), in addition to Chris’s interactions with Rose’s mother Missy (Catherine Keener), as well as his best friend Rod (Lil Rel Howery). As such, scrutiny of Get Out yields insight into the construction of Black masculinity in horror film, including how on-screen inter- and intra-racial relations are implicated in this. The writing that follows focuses on how Get Out offers complex and scarcely featured representations of Black masculinity, and boyhood, in horror. As part of such discussion, there is analysis of the entanglements of on-screen gender and racial politics, which contribute to the nuances of depictions of Black masculinity in Get Out.

A common way for academic libraries to support student success is through partnership with writing centers. Practices such as applying service design thinking to develop and inform integrated library and writing center services can lead to a student-focused space. This chapter outlines how service design, studio pedagogy, and peer learning informed the setup and ongoing services in The Undergrad Research and Writing Studio (URWS or, the Studio), a shared space in the Oregon State University Libraries. The URWS model is grounded in studio pedagogy, which employs a “propose-critique-iterate” approach to student writing development (Brocato, 2009). Research and writing consultants assist student writers when they have a question, mirroring libraries’ point of need service approach. Librarians and studio faculty collaborated on the training curriculum, which emphasizes how research and writing are intertwined processes. Peer consultant reflection and assessment inform the ongoing development of the overarching program, service, space, and training, ensuring alignment with the ethos of centering students and their learning.

Purpose – The purpose of this chapter is to trace the history of the cultural myth that children, especially boys, experience an abrupt heterosexual awakening during pubescence, from its origin during the 1950s to the present, with particular attention to a decrease in the age posited for such an awakening, from fourteen or fifteen to eight or nine or even earlier, until finally children are presented as heterosexually desiring from birth.

Methodology – The methodology is a content analysis of a sample of mass media texts starring or featuring prepubescent or pubescent boys, including films, television programs, comic books, comic strips, and juvenile novels, appearing in the United States between 1950 and 2007.

Findings – The rapid decrease in the age is correlated with an increased visibility of lesbian, gay, bisexual, and transgender (LGBT) adolescents, leading to the conclusion that it results from an attempt to privilege heterosexuality by making it appear a natural, inevitable outcome of biological maturation that is absent until puberty, whereas at the same time addressing homophobic insistence that no juvenile character be presented as gay by ensuring all characters, regardless of age, express heterosexual desire.

Research limitations/implications – The study is limited to a single causal factor, but it illustrates a complex cultural phenomenon, a shift in the way childhood is constructed, so there are doubtless other factors that should be explored. It is also necessary to explore why the change from presumed pubescent heterosexual awakening to presumed constitutional heterosexuality occurred at different rates depending on the race and social class of the character and the medium presented.

We are living in an electronic age, where everything that we want to know or are curious about is increasingly facilitated by the internet and search engines. Now, much of the world’s knowledge is at our fingertips. Students have unlimited access to information in the form of e-books, journals and other open sources. The value of a physical repository of knowledge is diminishing and the printing of material is becoming less compelling. It has been noted that college students spend as much time on the internet as they do while studying (Jones, 2002). The most pertinent question is whether the library is still considered an important source of information to students? Can we imagine a university without a library with just computers and a server room? The information highway is posing new challenges that the librarians have to deal with (Dunn, 2002; Rockman & Smith, 2002). In the past, gatekeepers like the librarian decided what a student should read, depending on their level of study and their comprehension power. The picture has altered and now students decide what exactly they should read with the click of their computers. Leaders in higher education institutions are skeptical as to how much they should actually invest in buying books, how many shelves to create to stack them and whether the collection of books is going to be an indicator of the academic quality of that institution. This book talks about a vital subject as to how much and in what ways a library can engage a student to create information literacy. Various interventions have been discussed as case studies in colleges and universities from Canada to India. Student-centered workshops have been designed along with university partnerships with a writing center as well as the role of a library as a source of socio-economic transformation in Africa. The experiences shared by the authors in this book will be a valuable resource for librarians across the world as they increase their collaborative efforts to promote the value of information literacy for students.

David Altheide reflects on his long career, noting the role of family, friends, colleagues, organizational culture, and luck.

Men maintain advantages in “women's” professions in large part because masculinity retains higher status than femininity even in feminized jobs mostly filled by women. Thus, men in these jobs tend to perform masculinity in very traditional ways, and are generally rewarded with increased access to higher-status positions, often with the cooperation and approval of their women coworkers. Yet much of the research in this area has neglected to explore how race intersects with gender to shape the ways men perform masculinity when they are employed in professions where they do “women's work.” How do men of color perform masculinity in female-dominated jobs? Are they able to engage in the expressions of masculinity documented among their white counterparts? Based on semi-structured interviews with black men nurses, I argue that these men encounter gendered racism from colleagues, supervisors, and customers that impacts the ways they construct and perform masculinity.

Of all the major, global professional sports where women have made inroads, striving toward equality in terms of status, earnings and media attention, tennis stands at the forefront. This chapter traces this historical development, outlining the sport's earliest socio-cultural features that afforded the inclusion of female players and charting the progress of notable women who thrust tennis into the limelight and turned themselves into commodities – the essence of professionalisation. Suzanne Lenglen blazed the trail by becoming, in 1926, the principal attraction in the sport's inaugural professional tour. Female players were encouraged to cast aside the shackles of restrained femininity and chart their own courses in a sport still dominated by men and played according to male standards. The rise of ‘Open Tennis’ in 1968 removed the playing restrictions and stigma of professionalism, but by opening up to the male-dominated corporate world, unsurprisingly it was the male players who initially competed for the lion's share of new money. Billie Jean King's efforts to galvanise her fellow female professionals to compete on a rogue tour sponsored by Virginia Slims left them ousted by the sport's main officials, but the tour's commercial success propelled them toward equality in terms of prize money and status. Still more or less a white, middle-class-dominated pursuit, the arrival of Venus and Serena Williams in the late 1990s turned tennis toward new markets, and the sport's significance for women remains apparent in the fact that its leading players are the most recognisable and well-paid of all professional female athletes.