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This paper has been written to highlight new ways to increase digital inclusion, specifically getting a greater number of older people to use the internet as part of their daily lives. It aims to profile a new engagement technique called “embedded outreach” and seeks to discuss the impact this technique has on tackling digital exclusion.

Data was gathered via a baseline survey at the beginning of the sessions to measure 895 attendees' existing web use and attitudes to the internet. A follow‐up survey of 295 older people two months later captured any change in use and attitude as a result of the sessions. A secondary follow‐up survey measured the legacy of the sessions.

The embedded outreach model was effective in breaking through many of the multiple barriers which prevent older people from using the web. Data showed that using existing voluntary sector infrastructure was key to reaching people.

Owing to timescales, only one session was delivered to each group. If the project had been carried out over a longer duration then repeat sessions could have been delivered to the groups and results measured.

A wide range of schemes support older people to get online yet most rely on “pull” techniques – where participants have to seek out opportunities. There has been little research into techniques that use existing voluntary sector infrastructure to bring the web to older people.

This chapter derives from the movieDr. Strangelovecues for exploring questions about the quest for methodological insularity and purity in socio-legal research. Steven Lukes’ classic three-dimensional model of power provides an intellectual focus for the core exploration of relations between epistemology and data generation, the two key elements that we usually identify with methodology. The discussion culminates in an affirmative argument for the value of approaching methodology as jazz, the creative popular music that grounds reliable, humane sense in Kubrick's movie and provides an apt analogy for much of the leading scholarship in the LSA tradition.

Focusing upon British retailing, the purpose of this paper is to review what is known both about the importance of different supply networks at different points in time, and about the attitudes of different groups of consumers towards these networks.

Relying primarily upon secondary sources, the paper discusses the ways in which the literature on retailing beyond the shop has developed during the past 40 years, and particularly during the past ten years or so.

The paper shows that although it is difficult to delineate the scale and importance of retailing beyond the shop, there is a growing consensus that shops were by no means the sole, or necessarily dominant, source of supply. It shows too that consumers' attitudes towards both commercial and non‐commercial exchanges were complex and sometimes contradictory, with non‐commercial transactions particularly difficult to disentangle and interpret. However, it should not be assumed, it is suggested, that notions of value and ties of reciprocity inevitably fell victim to the growing forces of industrialisation and urbanisation.

The paper adopts a broad chronological perspective and introduces readers to sources, evidence, ideas and concepts that shed light on British retail development and change.

Roland Joffé, the film-maker behind the significant critical hits The Killing Fields (1984) and The Mission (1986), employed a hypnotic aesthetic, which unflinchingly depicted violence and brutality within different cultural contexts. In 2007, he used a no less impressive aesthetic in a similar way, although this film, Captivity, was met with public outcry, including from self-proclaimed feminist film-maker Joss Whedon. This was based upon the depiction, in advertisements, of gendered violence in the popularly termed ‘torture porn’ subgenre, which itself has negative gendered connotations.

We aim to revisit the critical reception of Captivity in light of this public controversy, looking at the gendered tensions within considerations of genre, narration and aesthetics. Critics assumed Captivity was an attempt to capitalize on the popularity of the torture horror subgenre, and there is evidence that the film-makers inserted scenes of gore throughout the narrative to encourage this affiliation. However, this chapter will consider how the film works as both an example of post-peak torture horror and an interesting precursor to more overtly feminist horror, such as A Girl Walks Home Alone at Night (2014) and Raw (2017). This is seen through the aesthetic and narrative centralizing of a knowing conflict between genders, which, while not entirely successful, does uniquely aim to provide commentary on the gender roles which genre criticism of horror has long considered implicit to the genre’s structures and pleasures.

This work discusses gender issues related to the video game medium, addressing its production, consumption, and media repercussions. It begins with an overview of the emergence of the video game with the targeting of audiences that focused on sales campaigns to consumers along gendered lines that amplified the dominance of men in the space. The discussion then focuses on numerous ways that the gaming industry as a whole perpetuates a culture of misogyny. Empirical examples are provided of harassment, attacks, and the controversial event known as GamerGate. Subsequently, the complicated history of Brazilian video gaming development is presented to draw parallels with the development of the industry and the market in the United States. Finally, the chapter concludes with suggestions to stimulate new producers, developers, and video game scholars who are committed to building a more aware and diverse community.

This chapter explores factors presented in romance novels that reify gendered assumptions of masculinity and femininity to present readers with narratives that serve as powerful agents of socialization.

We conducted directed content analyses of over 180 mass-market romance novels published by Harlequin and Silhouette over an approximate 30-year period to ascertain common themes regarding gender polarization and gender schematicity in the maintenance of family and work.

Our review of this literature illuminates the assumption of “naturalized” gender roles for men and women in the construction and maintenance of marriage and the family, calling attention to the ways in which we remain constrained to polarized gender roles in the depiction of romantic encounters.

This study is limited to romance novels published prior to 2006, although we see replications of gender schematic narrative in current romance narratives featuring paranormal encounters (Twilight) and erotica (Fifty Shades of Grey).

The management of children′s literature is a search for value and suitability. Effective policies in library and educational work are based firmly on knowledge of materials, and on the bibliographical and critical frame within which the materials appear and might best be selected. Boundaries, like those between quality and popular books, and between children′s and adult materials, present important challenges for selection, and implicit in this process are professional acumen and judgement. Yet also there are attitudes and systems of values, which can powerfully influence selection on grounds of morality and good taste. To guard against undue subjectivity, the knowledge frame should acknowledge the relevance of social and experiential context for all reading materials, how readers think as well as how they read, and what explicit and implicit agendas the authors have. The good professional takes all these factors on board.

This bibliographic essay examines the scope and variety of nonfiction works in comics form with the intent of expanding librarians’ awareness of the diversity of such materials and serving as a resource for librarians.

It provides some theoretical background for understanding what constitutes nonfiction in graphic form and an overview of works available in print.

The article provides a representative (but not comprehensive) survey of graphic nonfiction works in the genres of memoir, travel, journalism, history, biography, science, essays and educational materials.

The essay focuses on materials published in books in English; the library world would benefit from subsequent research exploring the richness of materials available in other formats and other languages.

The field of graphic nonfiction is expanding, and this article serves as a guide for libraries interested in building or expanding collections in this format.

In the last ten years, feminists in and out of the universities have developed a power‐ful critique of pornography as “the ideology of rape” and the “ideological justifica‐tion for male dominance”. This article is a sociological analysis of the feminist social movement which has grown up around the issues of male violence and male culture.