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For readers' advisory librarians, genre literature can prove to be difficult collection management areas. The literature itself has rarely been defined in anything but the negative (“not great literature,” “not of lasting quality”) and yet it makes up a good deal of the attraction for many patrons to the public library, and gives great circulation support to their collections. Percentage‐wise, it gets the least attention for the most benefits. Many budgets are based on circulation figures, and much of the commendable relationship with the public is based on readers who devour genre literature. Why is it that genre readers are given such short shrift for their loyalty and devotion? Some of the problem lies in the traditional view of genre literature and the rest in the new view of collection development.

Since 1939, with the introduction of television at the World Fair in New York City, the television business has gone through many changes from the introduction of color to multichannel offering through cable and satellite. Recent years have brought an accelerated pace of change driven in large by the proliferation of digital platforms. Change that is manifested in the way consumers view television. Technology adoption is more of an evolutionary process than a full-fledged revolution. As such, learnings from consumer adoption of interactive television can provide a footprint for other industries. An example is digital health that includes applications and platforms, which are applied toward improving healthcare delivery or the healthcare systems.

This chapter will provide a comparison between the television and health industries as they transition into the digital age. It juxtaposes learnings from changing business models and consumer adoption from both industries and offers a possible roadmap for other industries on the quest to engage and grow their consumer base in the digital age.

Purpose – This paper extends research on social movement media by focusing on the use of a literary genre – realist fiction – namely, the labor problem novel in the context of the labor movement and countermovement in late 19th-century America.

Methodology – I do a close reading of a significant early dialogical cluster of such novels to address three key questions: (1) Field position of authors – What was the position of these labor problem authors in relation to the movement field and literary field and how did that positioning matter? (2) Genre selection – What was it about the realist novel that attracted labor problem partisans to it? (3) Internal content – How did authors shape the internal structure and content of their stories?

Findings – As literary activists, authors pivoted between the movement field and literary field selecting the novel for the special powers that it possessed relative to other historically available media. Authors produced stories with a good/evil binary attached to characters that stood for emerging social categories in young industrial America. During the Gilded Age (and beyond) the novel played an important role as medium for the labor movement and its opposition – characterizing collective actors, dramatizing forms of action, providing materials for claims of injustice or threats, solutions to social problems, and new categories and collective identities – all with powerful emotional appeal and entertainment value.

Implications – This study suggests that social movement scholars might expand their purview of cultural media used by movements and also take genre and its selection by activists seriously.

Originality – This study demonstrates how literature – realist fiction – has been shaped by movement agents and played an important, but under-appreciated, role in the struggle over cultural supremacy in the context of movement–countermovement dynamics.

By exploring the social features of contemporary fact-checking this study aims to increase our understanding of fact-checking as a genre and shed light on some of the aspects that underpin the communication that fact-checkers engage in.

By analyzing one snapshot of early COVID-19 coverage by three well-known fact-checkers and another one six months later, this study explores fact-checking as a genre. The material was examined for recurrent characteristics and the findings were categorized into corresponding themes that emerged through an open coding process.

Three aspects were found to underpin a contemporary fact-checking genre. Firstly, the fact-checkers strive to facilitate accessibility. Secondly, the notion of building trust underlies the way fact-checkers promote themselves. Thirdly, fact-checking is underpinned by a pedagogical aspect. While the values and beliefs that are known to characterize traditional news media discourses are predominant in the construction of a fact-checking genre, fact-checkers also draw on conceptions typically found within academia to enact professional practices.

Contemporary fact-checking is still a fairly unexplored topic of research. This is particularly the case outside the field of journalism and media studies. This study complements earlier research from the perspective of information studies by exploring how fact-checking practices impact the communication and production of news in society.

In an effort to impart and demonstrate the importance to my pre-service teachers of creating a curriculum that encourages inquiry, infuses technology, utilizes authentic means of assessment, and pushes for a critical stance, I asked them to construct a multigenre research project. Through this process, students learned specific and transferable skills for creating a classroom environment that leaps past rote memorization of isolated skills and into deep-level, cultural understandings that promote the development of informed and contributive citizens.

The purpose of the paper is to conceptually elaborate two important mechanisms, authenticity and fuzziness, that affect how audiences react to deviations from existing genres by artists that are making their first entry. In cultural industries such as music, social categorization systems play an important role in the success of actors. Audience members evaluate entering artists vis‐à‐vis the existing, collective system of categories and related normative social codes, and may or may not impose penalties for code violations.

This is a conceptual paper and the conceptual framework is built on recent theorization regarding social categories in organizational fields. A key premise is that such categories, including musical genres, are fuzzy with blurred boundaries and partial membership. Such fuzziness is likely to affect organizational viability and dynamics.

Based on the conceptualization, the baseline proposition is that artists making their first entry are likely to face higher penalties by audiences if they deviate from existing genres. However, the higher the idiosyncratic authenticity of an artist, the smaller such penalties are. Moreover, we expect penalties to be smaller when genre fuzziness increases.

Besides contributions to theory, the propositions that are stated in the paper should have relevance to record companies and artists when they are making strategic decisions regarding artist identity upon first entry.

The paper offers a novel perspective to extant research in music regarding genres, categories, and organizational identities. Furthermore, the paper contributes to recently emerged sociological theory on fuzzy categories and authenticity.

Information science research has begun to broaden its traditional focus on information seeking to cover other modes of acquiring information. The purpose of this paper is to move forward on this trajectory and to present a framework for explicating how in addition to being sought, existing information are made useful and taken into use.

A conceptual enquiry draws on an empirical vignette based on an observation study of an archaeological teaching excavation. The conceptual perspective builds on Andersen’s genre approach and Huvila’s notion of situational appropriation.

This paper suggests that information becomes appropriable, and appropriated (i.e. taken into use), when informational and social genres intertwine with each other. This happens in a continuous process of (re)appropriation of information where existing information scaffolds new information and the on-going process of appropriation.

The approach is proposed as a potentially powerful conceptualisation for explicating information interactions when existing information is taken into use rather than sought that have received little attention in traditional models and theories of human information behaviour.

This study aims to examine the intricate relationships in the making of a box office through a stakeholder lens that considers the influence of filmmakers and theatres on moviegoers' intention to watch a movie at the theatre.

Employing covariance-based structural equation modelling (CB-SEM), this study analyses survey data on cinema-going experience collected from 673 moviegoers in digital era of a new normal.

The findings elucidate that movie branding, movie genre and theatre preference positively influence moviegoers' intention to watch a movie at the theatre. Furthermore, the study unveils that theatre preference is swayed by an array of personal and social factors, including control belief and social companion. Intriguingly, promotional elements, both commercial and non-commercial, were found to influence movie branding, yet not the genre when predicting theatre attendance intentions.

Amid the burgeoning alternatives for watching movies (e.g. cable television and online streaming platforms), this article offers a contemporary exploration of the variables that motivate audiences to partake in the cinema-going experience, thereby serving as a proxy to decipher the factors that drive a movie's box-office success in digital era.

Unlike prior studies relying on archival data, the present study collects and uses survey data to develop a novel stakeholder theory-based marketing framework for the box office and moviegoers. The study also provides seminal insights on the box office and moviegoers in the digital era of a new normal.

To review and synthesize findings from peer-reviewed research related to students’ sources of ideas for writing, and instructional dimensions that affect students’ development of ideas for composition in grades K-8.

The ideas or content expressed in written composition are considered critical to ratings of writing quality. We utilized a Systematic Mixed Studies Review (SMSR) methodological framework (Heyvaert, Maes, & Onghena, 2011) to explore K-8 students’ ideas and writing from a range of theoretical and methodological perspectives.

Students’ ideas for writing originate from a range of sources, including teachers, peers, literature, content area curriculum, autobiographical/life experiences, popular culture/media, drawing, and play. Intertextuality, copying, social dialogue, and playful peer interactions are productive strategies K-8 writers use to generate ideas for composing, in addition to strategies introduced through planned instruction. Relevant dimensions of instruction include motivation to write, idea planning and organization, as well as specific instructional strategies, techniques, and tools to facilitate idea generation and selection within the composition process.

A permeable curriculum and effective instructional practices are crucial to support students’ access to a full range of ideas and knowledge-based resources, and help them translate these into written composition. Instructional practices for idea development and writing: (a) connect reading and writing for authentic purposes; (b) include explicit modeling of strategies for planning and “online” generation of ideas throughout the writing process across genre; (c) align instructional focus across reading, writing, and other curricular activities; (d) allow for extended time to write; and (e) incorporate varied, flexible participation structures through which students can share ideas and receive teacher/peer feedback on writing.

The purpose of this paper is to examine and discuss the classification of commercial popular music when large digital collections are organised for use in films.

A range of systems are investigated and their organization is discussed, focusing on an analysis of the metadata used by the systems and choices given to the end‐user to construct a query. The indexing of the music is compared with a check‐list of music facets which has been derived from recent musicological literature on semiotic analysis of popular music. These facets include aspects of communication, cultural and musical expression, codes and competences.

In addition to bibliographic detail, descriptive metadata are used to organise music in these systems. Genre, subject and mood are used widely; some musical facets also appear. The extent to which attempts are being made to reflect these facets in the organization of these systems is discussed. A number of recommendations are made which may help to improve this process.

The paper discusses an area of creative music search which has not previously been investigated in any depth and makes recommendations based on findings and the literature which may be used in the development of commercial systems as well as making a contribution to the literature.