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Services comprise of socio-technical (human and technological) factors which exchange various resources and competencies. Service networks are used to transfer resources and competencies, yet they remain an underexplored and “invisible” infrastructure. Considering the growth in technological investment in recent years, this research sets out to model the impact of IT-enabled innovation on a service network. In response to the growing importance placed on understanding these complexities, the field of “service science” has emerged to guide the effective design, implementation, and management of service systems. The purpose of this paper is to investigate the impact of introducing an IT-enabled innovation in a public service network.

This is achieved through a case study of an Exam Administration Service Department (EASD) where an electronic grading system was introduced to improve the EASD grading process. Data are analysed using both actor-network theory (ANT) as a theoretical lens and social network analysis (SNA) for empirical purposes to visualise the impact of IT-enabled innovation on a service environment.

The research described in this paper makes a useful contribution to the service science and IT innovation community both in terms of its topic (public service networks) and in terms of its theoretical framework and application methods (ANT and SNA).

This paper demonstrates how we can investigate the impact of IT-enabled innovation within a service network. Most notably, the application of SNA enables us to visualise the impact of technology and gain insights on the socio-technical dynamics associated with introducing service innovations.

Connected Health is an emerging and rapidly developing field never before witnessed across the healthcare sector. It has the potential to transform healthcare service systems by increasing its safety, quality and overall efficiency. However, as healthcare technologies or medical devices continuously rely more on software development, one of the core challenges is examining how Connected Health is regulated – often impacting Connected Health innovation. The purpose of this paper is to present an understanding of how Connected Health is regulated. Many of these regulatory developments fall under “medical devices”, giving rise to Software-as-a-Medical Device (SaaMD).

Through an extensive literature review, this paper demystifies Connected Health regulation. It presents the outcome of expert discussions which explore the key regulatory developments in the context of Connected Health to provide a practical guide to understanding how regulation can potentially shape healthcare innovation.

Several key issues are identified, and the authors present a comprehensive overview of regulatory developments relating to Connected Health with a view to support the continued growth of IT-enabled healthcare service models. The authors also identify the key challenges in Connected Health and identify areas for future research.

A key outcome of this research is a clearer understanding of the opportunities and challenges that regulation and standards present to Connected Health. Furthermore, this research is of critical importance in a first attempt towards recognising the impact of regulation and standards compliance in Connected Health.

Open innovation is an emerging paradigm which exposes organisations to networked capabilities and competencies though collaboration relationships. The traditional view of the organisational environment raises concerns regarding the mismatch in the methods used to assess business value and understanding service process maturity. The purpose of this paper is to address this gap.

This paper employs a systematic literature review to present a state-of-the-art literature review with particular focus on the applicability of capability maturity models (CMM) within an open innovation context.

The authors present a conceptual account of our research developments and build on the state-of-the-art which bridges open innovation and CMM. The authors provide a comprehensive discussion on the literature and challenge the applicability of individual organisations evolving through maturity stages. The authors identify a significant gap in the emergence of open innovation and CMM and present a service capability sourcing model (SCSM) to bridge these two research areas.

Unpacking the nature of service capabilities allows us to understand the primary components of value co-creation and their contribution towards service maturity within an open service innovation environment. The authors verify the explanation model using a cloud computing scenario within an open service innovation environment.

The contribution of this paper is an explanation model of an open service innovation environment through our SCSM. Though an open innovation perspective, the authors examine the nature of service capabilities and the suitability of traditional CMM in a modern service context.

Cultural visibility is closely linked to physical and social mobility, and access to – or denial of – free movement through private and public spaces powerfully shapes individual and social identities. As Liam Kennedy has shown in the context of urban space, “the operations of power are everywhere evident in space: space is hierarchical – zoned, segregated, gated – and encodes both freedoms and restrictions – of mobility, of access, of vision” (2000, pp. 169–170). A consideration of how film articulates a relationship between space and identity might thus begin by breaking down the concept of space itself into three distinct yet interconnected areas of analysis: first, the notion of socially produced space, as shown in the work of Henri Lefebvre and others; second, the idea of audience space or the architectural space of the theater; and finally, the theory of film space or the space of the screen. Given this essay’s limited scope, the latter will be examined in more detail than the first two, but I would like to stress the underlying interconnectedness of the three. While, for example, formalist studies of film aesthetics may be just as valuable as in-depth studies of changing viewing habits, audience demographics, and exhibition technologies, film interpretation should strive to keep in view the variety of spatial formations and conditions that might come to bear on any particular visual text.

Monsters, from ghouls and zombies to shoggoths and Cthulhu, have always fascinated humans and have a prominent presence in cultural production. This is made clear by how much people enjoy Halloween events and dressing up as their favourite monster or the most recent trend of horror themed escape rooms, that include haunted houses, a zombie apocalypse or Lovecraftian monsters. Monstrous creatures represent the fears and desires of society and often embody the allure of danger, transgression and power. Monsters have long been used to construct certain images of the different/unconventional and thus represent anything diverse as the Other. Monsters, however, can be employed to invert or even overturn this relationship by empowering the Other and thus provide us with a more critical view on society in regard to our values, fears and attitudes. The stories and folklore about monsters and the monstrous that incite fear and remind us to always check under our beds before we sleep have also found their way into our everyday lives. Within the mainstream media, criminality is indicative of moral corruption, and is attributed with notions of monstrosity. These monsters do not have claws, instead, they are unpredictable, different and deviate from social and cultural norms. Like the mythical creatures in folklore, monstrosity in its human form reminds us to fear the future, the unknown, Others and society. The monstrous is centrally defined by its unfixedness, its resistance to conformity or to convenient schematic identification. It is somatically and intellectually uneasy, a restless disturbing embodied thought that unsettles, and whose greatest value to us is its very indeterminacy. This chapter illustrates the shifting shapes of the monstrous, their makers, and offers insight about what we can learn from studying these cautionary noetic chimeras. Drawing on the diversity of our academic backgrounds, ideological perspectives and the research from our individual chapters, we address the contemporary narrative of the figure of the monster. Rather than an essay style examination, our chapter explores this narrative through a question and answer format. The flexibility of this format allows readers an intimate glimpse into the ways in which the monstrous can be conceptualised and understood in various frameworks.

This is a comparison of the emotions we have in watching a movie with those we have in everyday life. Everyday emotion is loose in frame or context but rather controlled and regulated in content. Movie emotion, in contrast, is tightly framed and boundaried but permissive and uncontrolled in content. Movie emotion is therefore quite safe and inconsequential but can still be unusually satisfying and pleasurable. I think of the movie emotions as modeling clay that can symbolize all sorts of human troubles. A major function of movies then is catharsis, a term I use more inclusively than usual.

Throughout I use a pragmatist approach to film theory. This position gives the optimal distance to the study of ordinary, middle-level emotion. In contrast psychoanalysis is too close and cognitive theory too distant. This middle position is similar to Arlie Hochschild’s symbolic interactionist approach to the sociology of emotions, which also mediates between psychoanalysis and cognitive theories.