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This chapter covers three main concepts: it provides an overview of supply chain management (SCM), introduces the concepts of procurement and what is entailed within this function, and explains how inventory is managed. In the first section, SCM is considered broadly but also in the context of hospitality. The key roles and objectives of SCM as well as the significance of supply chain risk and disruption are considered. In the second section, the concept of sourcing is discussed. Sourcing is a critical function in any organization: without this, an organization would cease to operate. The importance of supplier selection is explored, with methods to make the most appropriate selection and for subsequently managing suppliers. Finally, the third section focuses on how inventory management can be optimized. Concepts such as economic order quantity (EOQ) and ABC analysis are explored, along with alternatives to traditional inventory management methods.

Dispersed multinational teams include people from multiple nations, some of whom are not collocated. In a knowledge economy, such teams must locate, store, allocate, and retrieve knowledge. Three central questions are: (a) How can dispersed multinational teams manage knowledge resource flows? (b) What factors influence knowledge resource distribution in these teams? and (c) How do dispersed multinational teams evolve over time? This chapter examines knowledge resource sharing in multinational teams through three theoretical lenses: transactive memory theory, collective action theory, and evolutionary theory, and concludes with practical suggestions for managing dispersed multinational teams that are derived from these three theoretical lenses.

The purpose of the chapter is to elaborate the theory of academic capitalism by focusing on rarely examined forerunners of academic capitalism: namely, business schools.

A research-based essay.

The findings emphasize that there are different forms of academic capitalism. Our example from Dubai context shows how more extreme form of academic capitalism, which we label Acamanic Capitalism, developed as a result of free educational markets.

The chapter provides scholarly value through novel conceptualization. The phenomenon of acamanic capitalism should also be acknowledged in academia and in critical management education.

Purpose: This paper uses performance theory to explore how wine-tourism experiences are orchestrated by wine tour guides to encourage engagement of consumers. It describes how such orchestration is built on material elements such as landscapes, architecture, vineyards, production facilities, and wine tastings.

Design/methodology/approach: A multi-layer ethnographic research on wine-tourism was employed. The interviews, observations, and field notes were analyzed through the lens of performance theory. A constant comparative method was used to identify emergent patterns, and a hermeneutic method was used to interpret the data.

Findings: The paper builds on performance theory and delineates the ways in which guides co-create intense experiences with participants. It portrays how tour guides often adjust their theatrical scripts to consumers’ unique needs through creative variations: surprise treats, activities, and personal stories. When guides take pleasure in tours, participants do as well, resulting in memorable co-created experiences. The tours feature processes such as pitching and relation-building techniques that call upon identity, morality, and materiality scripts, which ultimately build a sense of social obligation among participants toward tour guides and winery staff.

Originality/value: From a theoretical perspective, the paper adds value to the discussion of performance in tourism by suggesting that the service blueprint, architecture, and employee training are only part of the story. This paper shows how consumer engagement and interactions between participants, guides, architecture, and landscapes are essential elements of memorable experiences.

Research limitations: Like other studies, there are limitations to our study as well. Our study only included one-day wine tours. A broader investigation of strategic alliances between tour companies and wineries, and how wine tourists experience and sustain a sense of social obligations to the wineries they visit, will provide further insights into how wine-tourism functions as a co-creative emergent form of consumption involving individuals, products, and processes.

The author argues that contemporary college culture is predicated on hedonism indicated by a use of predominantly social time in which parties, alcohol, casual sex, and lax academics pervade students' experiences. Coincident with this culture, however, is a deleterious pattern among students that has developed dramatically: their compromised mental health. The situation presents an apparent paradox: why are many students suffering when enveloped by fun? This chapter draws a connection between fun and suffering by treating each as conditions that spring from the sociohistorical context that situates institutions of higher education. In so doing, a theory is set forth to explain why despair is rendered applicable and how it is institutionally installed in the minds of modern-day college students.

The chapter intervenes in the debate among scholars of legal impact about the extent to which law can change society. Reformers, aims are frustrated when targets of law respond with resistance to court decisions, especially where mechanisms to enforce case law are weak (Hall, 2010; Klarman, 2006; Rosenberg, 1991). Even when law’s targets abide by a law, however, other important studies have demonstrated that organizations can leverage ambiguous language to craft policies in compliance that further their aims (Barnes & Burke, 2006; Edelman, 2016; Lipson, 2001). This chapter examines a case in which a state constitutional provision banning affirmative action was written in relatively unambiguous language and one of its targets announced its intention to comply. Through extensive interviews with University officials, this chapter examines the University of Michigan’s use of financial, technological, and political resources to follow the language of the law while still blunting its impact. These findings suggest that to understand law’s impact on society, we need to reconceive compliance and not only take the clarity of the law and its enforcement mechanisms into account but also attend to the goals, resources, and practices of the groups it targets.

The popularization of slasher as subgenre begins with the release of The Texas Chainsaw Massacre (Hooper, 1974) and Halloween (Carpenter, 1978). Both films serve to define the topic of the subgenre: a serial killer that often slaughters groups of teenagers, especially attractive young women, using bladed weapons (Linz & Donnerstein, 1994; Molitor & Sapolski, 1993, 1994). Thus, although the definition of the slasher is not really fixed in terms of gender, the killers have been traditionally interpreted by men, while the victims have been usually interpreted by women (Clover, 2015; Trencansky, 2001; Weaver et al., 2015). Not for nothing, another important character is the final girl, who uncovers the monster´s motivations and finishes the killer off in the final scene; an important role that is actually a form of female subjugation. However, some exceptions can be found such as Pamela Voorhees (Friday the 13th, Cunningham, 1980), but she is simply defined as Jason´s mother. More interesting is the case of the Scream saga, in particular Scream 4 (Craven, 2011) where a teenage girl, portrayed by Emma Roberts, tries to play the role of the killer and the final girl at the same time.

In recent years, the slasher has gained importance in television. After Harper’s Island (CBS, 2009), an homage to the subgenre rather than a real slasher TV show, in 2015, MTV launched Scream, based on the film series and which continues exploring the gender roles anticipated by the last movie of the saga. In the same year, Fox launched Ryan Murphy’s Scream Queens (2015–2016) starred by Jamie Lee Curtis, the final girl of Prom night (Lynch, 1980) and Halloween saga, and Emma Roberts. In this regard, current television tries to renew the slasher, but starting from the clichés and even some familiar faces of the subgenre.

The purpose of this chapter is to evaluate the representation and evolution of female characters in slasher television series, exploring the relationship among the killer, the final girl and the rest of the victims. In this way, television series like Scream, Scream Queens (Fox, 2015–2016) or Slasher (Super Channel, 2016–) are analysed.