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University libraries have traditionally been the primary caretaker of scholarly resources. However, as electronic modes of information delivery replace print materials, expectations of academic libraries have evolved rapidly. In this environment, academic libraries need to be adaptable organizations. Librarianship, though, is deeply rooted in strong values and beliefs which inherently limit receptivity to change and innovation, but these constraints are not absolute. Social network research indicates that professional advice networks play a significant role in how one thinks about and performs work and that individual perspectives are broadened when diverse input is received. Based on social network analysis methods, this study explored the relationship between individual receptivity to innovation and the composition of a person's professional advice network through a purposive sample of academic librarians in Illinois. The group completed a survey that explored two dimensions: (1) the nature of relationships within their professional advice network and (2) the individual's personal receptivity to innovation. Analysis of the nature of relationships within the professional advice networks was based on a combination of quantitative and qualitative techniques, in contrast to the analysis of the respondents’ receptivity to innovation which was based on quantitative measures. Based on the information from the 440 respondents, the results of this research indicate that there is a relationship between the size of the professional advice networks and individual's receptivity to innovation, but additional aspects of the professional advice network may play a role in an individual's overall receptivity to innovation.

The Final Girls (Todd Strauss-Schulson, 2015) is the story of a group of teenage friends that, during the screening of a Friday the 13th-like 1980s slasher horror, happen to be sucked into the film. Trapped in the gruesome narrative, they have to survive the deranged killer that haunts the premises of the campsite by applying their knowledge of the rules and cliches of the slasher genre. The film is of interest not only because it mixes horror and comedy and exaggerates the horror genre’s conventions – as Scream and other neo-slashers already did. By employing the device of the screen rupture, the film constructs a complex network of self-reflexive moments and intertextual references. The metalinguistic play involves in particular the notoriously sexophobic and gender-led dynamics of the 1980s slashers – those more emancipated girls who have sex are killed; the most prudish girl is the one that eventually manages to defeat the monster, the ‘Final Girl’. In this sense, the film is almost like a video essay that reprises and illustrates one of the most seminal study of the slasher genre, Carol Clover’s 1992 Men, Women, and Chainsaws: Gender in the Modern Horror Film. The chapter presents the defining elements of the slasher subgenre as theorized by Clover and then focusses on the analysis of the metalinguistic elements of The Final Girls vis-à-vis Clover’s classic text.

Research on creative workers speaks to the relative lack of job opportunities available, the role that changing production logics play in shaping such opportunities, and gender disparities in success. Tracking 22,561 hits found on Billboard's mainstream charts, we examine various factors that may spur or hamper the success of female recording acts. We find that the expanding logic of decentralized production eliminates the negative effect of concentration on the success of female acts and that the presence of successful female acts in one period bodes well for subsequent female acts, until a glass ceiling of sorts is reached.