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This chapter presents a historical analysis of how rural and small libraries have traditionally used nontheatrical film, including a discussion of how bookmobiles presented these materials to persons in broader service areas. After establishing the entertainment and educational benefits patrons historically received from the screening of these materials, the author transitions to discuss how recently established regional film archives and other organizations have made significant strides in recent years in preserving motion pictures that document local and regional culture. The chapter concludes with an analysis of how rural and small libraries can work with regional motion picture archives to design screenings and other programs that fulfill traditional roles of entertaining and educating patrons while also reaffirming local cultural identity.

Summative research and archival sources provide the foundations for the discussion of the role and purpose of film in rural and small libraries. Specific libraries and collections serve as case studies.

• Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

• Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

• Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Small-gauge motion pictures were popular with rural library and bookmobile patrons during the first three-quarters of the twentieth century, bringing entertainment and information to persons who normally had limited options in these areas due to geographic barriers.

Regional film archives and nontheatrical film advocacy organizations have emerged during recent decades, collecting previously overlooked materials that can help reaffirm local and regional culture.

Several regional film archives have already collaborated with rural and small libraries as well as other local institutions, providing a roadmap for libraries that wish to expand their cultural-heritage-oriented ­programming.

Numerous scholars have published studies on regional and local nontheatrical film in recent decades, but relatively little has been written to connect these films with their value to rural public libraries and their constituents. By beginning with a historical analysis of how films have traditionally been of value to these audiences, the author is able to transition to presenting ideas on how nontheatrical works can continue to be of value in rural contexts. This has practical applications for rural libraries and other rural cultural organizations throughout the United States.

One of the greatest challenges facing academic libraries is maintaining necessary space for collections and services. Academic administrators are forced to balance the need for space to support new and expanded programs, while supporting the traditional needs of the educational enterprise. With many of these situations, the answer comes from redeploying library space for other purposes. The net result for libraries is that functions and services run for years might no longer be possible with these changes in space. This is exactly the problem faced by the Kresge Business Administration Library at the University of Michigan when a major gift led to a construction project that saw the library’s footprint decrease by over 80%. As Kresge went through this change, there was a concerted effort to retain jobs, even though many would be dramatically changed with the new world order. This chapter focuses on the response undertaken at Kresge Library to balance the changing needs of the library that accompany dramatic space reduction. Additionally, this chapter will explore the literature on staffing trends in light of major changes to our work, political posturing to generate more work or “business” for library staff, exploration of the assessment program to ensure that we have the right staffing levels.

Del Toro's adult fairy tales create their horror via a disruption in the familiarities of place and identity using a connection between a purposeful mise en scène and techniques of sound design world-building that he borrows from the long tradition of horror filmmaking. Though the discussion of the relation between image and sound in del Toro's films would (and do) fill a number of volumes and monographs, this chapter will focus on one particular technique long-employed by horror film sound designers, music supervisors and composers: extra-diegetic sound. Where diegetic sound is the audio that is part of the world of the film and non-diegetic sound its inverse, extra-diegesis points out that these bits of audio effectively collapse the world of the character with the world of the audience. Extra-diegetic audio is a diegetic audio effect (the source being clearly seen or pointed to in the visuals) that has been sweetened, enhanced or noticeably processed to include extra audio elements that are non-diegetic, making the whole of the audio both of the world of the film and simultaneously of the world of the audience. The audience notices and can clearly hear the extra enhancements, though in the stress and horror (which is the point) of the moment these distinctions may collapse and lead the audience to confuse the real with the pretend.

In this article, I analyze constructions of and responses to vulnerability in the US government and a now-prominent evangelical aid organization, World Vision, during the 1950s and 1960s in Korea and Vietnam. World Vision was founded as the “development discourse,” Cold War rhetoric, and the neo-evangelical movement were all rising to prominence in the United States. World Vision’s early understandings of vulnerability resonated with Cold War and modernization theory rhetoric in certain ways; however, its approaches to remake vulnerable Asians were often distinct. World Vision evangelical Christians looked to private voluntary organizations and individual conversions in a free society to remake individuals and nations, notions not so different from neoliberal development approaches today. US foreign aid approaches were rooted in nation-building for centralized, planned government institutions and economies to modernize “traditional” people. This article examines the complex relationships between missionaries, evangelists, US foreign aid experts and the military in American constructions of vulnerable traditional Asians and interventions to modernize and Christianize them. In examining roots of faith-based development models through the case of World Vision and notions of vulnerability, historical threads and lineages emerge for understanding the relationship of religion and the state in modernizing projects, and faith-based and neoliberal development models.

Alien franchise protagonist Ellen Ripley (Sigourney Weaver) returns in the series' second film instalment, Aliens (1986), as ‘a full-fledged hard-body hero’ (Gallardo & Smith, 2004) to assist in the rescue of a group of colonists from an Alien invasion. As each of the rescue team's male officers are killed or proven incompetent or traitorous, Ripley quickly steps forward as the surviving group's leader and principal strategist, forming a strong emotional attachment to the colonists' only surviving child and providing structure and stability to the remaining soldiers. Her heroism is defined by her maternal leadership of the group; as the most sensible and competent member, she prioritizes the group's needs above her own. Ripley's full embodiment of motherhood amplifies her machoism and maternal control over the surviving group, allowing her to reconquer her fears of the Alien species and protect her adopted child when she is kidnapped and nearly killed by the Alien Queen. This chapter thus traces Ellen Ripley's transformation from sceptical consultant to macho-mother and its importance to the franchise's overarching narrative, as well as the evolution of the macho-mother hero in more recent science fiction action films such as Mad Max Fury Road (2015) and The Cloverfield Paradox (2018).

Moving images represent a category of material which has historically received short shrift in most libraries and archives. Film, video, and now digital images form a significant part of many library and archival collections, however, and can be found in many formats and genres. Despite the ubiquity of such media in cultural institutions, the majority of libraries and archives owning collections of moving images have neglected these holdings—with the specific exception of those few archives devoted primarily to the care and preservation of moving images.

Many forecasting methodologies used in the new product development process are superficial techniques that either fail to incorporate the voice of the consumer or only touch on superficial consumer attitudes while completely ignoring the affectively laden hedonic aspects of consumption. This chapter demonstrates how a relatively new qualitative methodology, the Zaltman Metaphor Elicitation Technique (ZMET), can provide managers with insight into the critical psychosocial and emotional landscape which frames how consumers react to a new offering. These insights can be leveraged at any stage of the new product development process to forecast and fine-tune deep consumer resonance with a product offering.

Purpose – This study is intended to extend scholarship on the management of organizations by examining the long-term performance of orphaned products.

Design/methodology/approach – This study uses the historical context of the 1929 stock market crash and the Great Depression to examine the long-run appeal (performance) of orphaned products – products from start-ups that fail soon after production. I use this setting to determine how factors within the purview of management, as well as the role of changing tastes, affect the appeal of music from short-lived start-ups founded in 1929 and 1933.

Findings/originality/value – I find that while the evolution of tastes has a substantial effect beyond the control of a firm's managers, a start-up's decision-makers were able to positively influence the long-run appeal of music when they (a) recorded tunes with new artists and (b) were able to create an early big hit with the tune. These results demonstrate how and why, even with cultural producers in one of the greatest economic disasters in U.S. history, managerial decisions were meaningful for product performance. Finally, I show that the effect of being a start-up on the long-run appeal of a tune is time-varying such that being a start-up in 1929 or 1933 does not harm a tune's appeal until after World War II. These final analyses point to further ways in which strategy, history, and sociology might combine to further scholarship on the management of organizations.