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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.

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.

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.

What do teenage boys read, and why? Little study has been done specifically of boys′ reading habits, leading to the suspicion that much public library selection for this group has been based on guesswork and intuition. This study sought to fill this gap in our knowledge through 60 one‐to‐one structured interviews of a stratified sample of 13‐15‐year‐old boys, approached through four Essex secondary schools. Discovers that reading compares favourably with other leisure pursuits, most boys reading regularly for 40 minutes per day on average, or one book per fortnight. Selecting fiction by genre, author and series, but chiefly by the blurb, boys are diverse in their tastes. Fifteen‐year‐olds read predominantly adult novels or have effectively ceased reading. The boys read reflectively, and are equally divided between those who imagine the story unfolding in their imaginations, those who imagine their own involvement, and those who do neither. Finds that the use of non‐fiction is lower and less important to teenage boys than had been believed. Draws implications for library provision for this group.

This study aims to explore students’ interests in multimodal texts by focusing on videos of social issues.

Data from 50 students in a first-year multilingual composition course were analyzed in two phases. Phase One examined 14 students’ reasons for self-selecting videos for multimodal analysis essays in one section of the course. Phase Two explored 50 students’ selected videos in four sections of the course across four semesters. The videos were classified as either problem- or solution-oriented to examine the students’ interests.

Analyzing the students’ responses in Phase One revealed that most of the selected videos included solutions to a social problem, and the students advocated the compelling ways in which the characters therein dealt with those problems. The findings for Phase Two revealed that the students’ selections were equally divided between problem- and solution-oriented videos. Nevertheless, a gradual increase in the selection of solution-oriented videos was observed over time.

A significant implication of this study is that it can help teachers expand their understanding of interesting and meaningful texts and make more engaging and effective instructional decisions.

The study contributes to the literature on text selection as it highlights students’ inclination toward what type of learning content interests them.

The purpose of this paper is to determine the feasibility of modifying a commercial off‐the‐shelf video game that incorporates elements of information literacy.

This paper examines six game design elements of educational video games and discusses the resources required to design and build Benevolent Blue, a “modded” video game.

This paper provides a discussion of the skills, time and funding required to build a “mod” incorporating information literacy.

Although modifying commercial videogames is quite popular, very little discussion or work is written about “modding” and its potential use designing video games for libraries. Further research is required to determine if the knowledge transfer of information literacy skills occurs with players. Additional study could look at incorporating information literacy into video games of different genres and well as the impact that video games have on undergraduate student engagement and satisfaction.

This paper outlines the resources needed to modify a commercial off‐the‐shelf video game and provides suggestions on how others in libraries might do the same.

This paper looks at serious educational games in a new way – the modification of commercial off the shelf games to develop complete game play experiences that sit outside the classroom and emphasize the importance of play.