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This chapter introduces the topic of cooperation and co-innovation between the audiovisual media and education sectors. It first discusses the emergence of educational film approximately a hundred years go – together with a new institutional framework, industry media, rulebooks, etc. It then discusses the ways public service media have addressed educational programming over the decades, including developing complex cross-media strategies and educational content databases more recently. The second half of the chapter is dedicated to the emergence of educational digital games, with their own institutional setups, production cultures, and training programmes. The chapter points, however, to a relative lack of cooperation between commercial game producers and educational institutions to date.

This chapter presents a historical analysis of how rural and small libraries have traditionally used nontheatrical film, including a discussion of how bookmobiles presented these materials to persons in broader service areas. After establishing the entertainment and educational benefits patrons historically received from the screening of these materials, the author transitions to discuss how recently established regional film archives and other organizations have made significant strides in recent years in preserving motion pictures that document local and regional culture. The chapter concludes with an analysis of how rural and small libraries can work with regional motion picture archives to design screenings and other programs that fulfill traditional roles of entertaining and educating patrons while also reaffirming local cultural identity.

Summative research and archival sources provide the foundations for the discussion of the role and purpose of film in rural and small libraries. Specific libraries and collections serve as case studies.

• Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

• Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

• Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Numerous scholars have published studies on regional and local nontheatrical film in recent decades, but relatively little has been written to connect these films with their value to rural public libraries and their constituents. By beginning with a historical analysis of how films have traditionally been of value to these audiences, the author is able to transition to presenting ideas on how nontheatrical works can continue to be of value in rural contexts. This has practical applications for rural libraries and other rural cultural organizations throughout the United States.

Moving images represent a category of material which has historically received short shrift in most libraries and archives. Film, video, and now digital images form a significant part of many library and archival collections, however, and can be found in many formats and genres. Despite the ubiquity of such media in cultural institutions, the majority of libraries and archives owning collections of moving images have neglected these holdings—with the specific exception of those few archives devoted primarily to the care and preservation of moving images.

This study documents the role of relational trust in an afterschool organization and its influences on young people’s experiences.

Through a 10-month ethnographic study of one afterschool program that teaches teens how to make documentaries, I demonstrate that the confluence of blurred organizational goals; weak relational trust among staff; and funding pressures may have the unintended consequence of exploiting students for their work products and life stories.

The study finds that, while not all organizations function with student work at its center, many afterschool organizations are under increasing pressures to document student gains through tangible measures.

Implications from these findings reveal the need for developing strong relationships among staff members as well as establishing transparency in funding afterschool programs from within the organization and from foundations in order to provide quality programming for young people.

This study informs organizational theory, specifically in terms of measures of variation in relational trust within an organization and its influence on young people. This chapter includes student accounts of experiences with staff to enhance the significance of relational trust.

By introducing readers to the educational turn in contemporary art, this chapter shows how contemporary artworks and exhibitions can offer educational experiences in themselves. Furthermore, that such artworks constitute a radically expanded or situated form of art teaching. The author argues that educational turn art issues an important challenge to conventional methods of education which are still rooted in the classroom. The first section of this chapter surveys the art of the educational turn, demonstrating its pedagogic effects and innovations. The second section of this chapter draws on some of the lessons of these artworks, alongside some of the ideas from critical pedagogy (Dewey, 1916; Freire, 1996 [1970]; Rancière, 1991, 1999, 2004, 2009, 2010) which complement them. In conclusion, the author attempts to synthesize both into the outlines of a pedagogy of the pedagogical turn, based on principles of humanism, institutional critique, and democracy.

The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media industries in small countries in the region as they are challenged in ways notably different from large countries with large domestic markets for media content. It discusses the differences between the AV media industries in the Nordic and Baltic countries and suggests that while in the first case long-term welfare society policies and conscious policy-driven system building have conditioned growth and international success then also in the second case innovation policy rationales have facilitated recent growth and dynamics. It then discusses the specific challenges, especially platformisation to small media industries in contemporary globalising media markets, and suggests that opportunities to resist these challenges may be in local inter-sectoral cooperation, that is, in building cross-innovation systems.

Purpose – This chapter analyses the independent U.S. film Reefer Madness, a fictional full-length feature about marijuana use and selling that has grown in cult status since it was produced in 1936. In addition, this chapter discusses a number of examples of early and contemporary illegal drug films that focus on marijuana, including a short film scene from Broken Flowers (2005).

Methodology – Drawing from critical and feminist criminology, sociology, and cultural studies, this chapter provides an analysis of fictional illegal drug films with a focus on marijuana.

Findings – The significance of a century of film representations that reinforce a link between illegal drug use, immorality, and crime is discussed. It appears that these themes are quite enduring.

Value – It is worthwhile to analyze illegal drug films, not just to explore the stigmatization of users, but to examine the social/political effects of these films, particularly the ways that certain kinds of negative images support drug regulation and its attendant policing.

Problems of competence grow out of institutional culture and from the way these institutions shape the profession and its members. Toward that end, this chapter is organized around three general considerations. First, we discuss some general issues about leader quality. Second, the present shape of the leadership corps in higher education will be discussed. Finally, we introduce several 21st century leadership core competencies (Brooks & Normore, 2009) for consideration to hiring personnel so they do not repeatedly select and promote unqualified leaders who stifle creativity and encourage conformity.