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This chapter presents a case study of the ways the Phoebe pedagogic planner assists faculty to design and select e-learning technology because “it's not the technology, but the [quality] of the educational experience that affects learning” (Seltz, 2010, p. 1). Faculty applied guidance from Phoebe to evaluate various interactive media options for undergraduate psychology courses to enhance student learning and engagement. The authors discuss the application of instructional technology in Introduction to Psychology, Cross-cultural Psychology, and Human Motivation and Emotion courses. These projects were prompted by earlier work (Hager & Clemmons, 2010) that explored collaboration to promote integration of technology in traditional courses. The new technologies include discussion forums; online simulations, cases and assessments; text-to-poll; and the Moodle learning management system (LMS). Current theories of e-learning are applied to analyze and critique these projects, concluding with recommendations for future research, practice, and faculty development to incorporate learning technologies. The authors demonstrate how learner-centered collaboration among faculty, researchers, and administrators can shape and improve student engagement and develop institutional cultures of e-learning.

Since the first Volume of this Bibliography there has been an explosion of literature in all the main areas of business. The researcher and librarian have to be able to uncover specific articles devoted to certain topics. This Bibliography is designed to help. Volume III, in addition to the annotated list of articles as the two previous volumes, contains further features to help the reader. Each entry within has been indexed according to the Fifth Edition of the SCIMP/SCAMP Thesaurus and thus provides a full subject index to facilitate rapid information retrieval. Each article has its own unique number and this is used in both the subject and author index. The first Volume of the Bibliography covered seven journals published by MCB University Press. This Volume now indexes 25 journals, indicating the greater depth, coverage and expansion of the subject areas concerned.

The purpose of this paper is to examine the professional culture of television marketing in the UK, the sector of arts marketing responsible for the vast majority of programme trailers and channel promos seen on British television screens.

In research approach, it draws on participant observation at Promax UK, the main trade conference and award ceremony of the television marketing community. Developing John Caldwell’s analysis of the cultural practices of worker groups, it uses Promax as a site of study itself, exploring how a key trade gathering forges, legitimates and ritualizes the identity and practice of those involved in television marketing.

Its findings show how Promax transmits industrial lore, not only about “how to do” the job of television marketing but also “how to be” in the professional field. If trade gatherings enable professional communities to express their own values to themselves, Promax members are constructed as “TV people” rather than just “marketing people”; the creative work of television marketing is seen as akin to the creative work of television production and positioned as part of the television industry.

The value of the paper is the exploration of television marketing as a professional and creative discipline. This is especially relevant to marketing and media academics who have tended to overlook, or dismiss, the sector and skills of television promotion.

The body of scholarship on YouTube is an expanding area of scholarly inquiry. Existent research indicates that music videos are one of the most salient features of YouTube. Interactionist research about popular music has provided important insights through interviews with fans and audience members; however, this work has yet to examine audience engagement with music videos on YouTube. Using Qualitative Media Analysis, I illustrate how the researcher of popular music can work with user comments collected from YouTube. Thematic understandings largely consistent with nostalgia that emerged from an analysis of user-generated comments in response to selected music videos on YouTube are explored. I conclude by suggesting some directions for future research.