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Purpose – The chapter explores the development and impact of the Museums Victoria’s exhibition World War I: Love & Sorrow, which aimed to present an honest, graphic and challenging account of the experience and effect of World War I on Australian society. The paper describes the exhibition content and uses a range of methodological approaches to study its emotional and other impacts.

Methodology/Approach – A range of evaluation methodologies are used: visitor observation and summative evaluation collected in the months after the exhibition opened, and quantitative and qualitative studies produced in 2017. Comparative assessment of a large sample of visitor comments cards was also undertaken. The more recent evaluations focused particularly on emotional impacts.

Findings – The research finds that emotion is central to the success of the exhibition: underpinning the exhibition concept, guiding the research process and selection of interpretative approaches, and shaping visitor response.

Originality/Value – The emotional aspects of museum work have received relatively little attention, and few studies focused on the evaluation of visitor emotions have been published. The chapter uses a case study to highlight the role of emotions in museum exhibitions and historical interpretation, argues for more central place for emotions in historical enquiry, and addresses concerns about subjectivity, authenticity and evidence.

Up until the turn of the millennium, there had been very little positive representation of women and women in action characters in the action film genre. Two notable exceptions were Ellen Ripley in the Alien movies and Sarah Connor in the Terminator franchise. Whilst this has certainly changed over the last 20 years, one action/horror/science fiction heroine remains neglected: Project Alice in the six Resident Evil films. Portrayed by Milla Jovovich, and loosely based on the platform game character, Project Alice is strong, driven, motivated and tough. This chapter will, through detailed analysis of character, her physical presence through the clothing she wears, psychogeographical aspects, her use of weapons and narrative arc, clearly demonstrate the importance of Project Alice to the horror genre.

The rise of aesthetics within organizational studies has been met with enthusiasm by a growing coterie of scholars. Aesthetics, it is claimed, offers a dimension that has been missing in a discipline that has been dominated by instrumental approaches. It is not surprising, then, that Pierre Guillet de Monthoux, one of the field's champions, asserts that “if the German artist Joseph Beuys … was right in claiming that art is tomorrow's capital, it seems reasonable to consider aesthetics its new organization theory” (Guillet de Monthoux, 2000, p. 35).