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Social Marketing, Entertainment Education Program.

Postgraduate program. Master in Strategic Marketing and Master in Business Administration.

In the midst of the many TV shows that do not provide enlightenment, Kick Andy TV Show appeared to provide answers to the public unrest. In the spirit of “Watch with Heart” Kick Andy serves Entertainment-Education and Social rarely glimpsed by the television station. Success of Kick Andy TV Show made this brand doing brand extension such as Kick Andy Foundation, Kick Andy Magazine, Kick Andy Enterprise and others. Challenge for this program is to maintain the right balance between social, entertainment and education.

This Case Study illustrates that Kick Andy TV Show filled the value gap that viewers experienced from existing TV show. This show is similar to the offer of Oprah Winfrey Show in the USA. Student is expected to understand social marketing primarily related to entertainment-education TV show.

Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

Purpose – This chapter provides the reader with an overview of a reflective video pedagogy for use within a literacy center or within professional development contexts. The conceptual overview is followed by two-case examples that reveal how literacy centers can serve as rich, productive research sites for the use and study of reflective video pedagogy.

Methodology/approach – The authors describe their ongoing work to develop and integrate a reflective video pedagogy within a literacy center during a 15-week practicum for literacy-specialists-in-training. The reflective video pedagogy is not only used by the clinicians who work with struggling readers twice a week, but it is also used by the researchers at the literacy center who study the reflective video pedagogy through the same video the clinicians use.

Practical implications – Literacy centers are dynamic sites where children, families, pre/in-service teachers, and teacher educators work together around literacy development. Reflective video pedagogies can be used to closely examine learning and teaching for adult students (i.e., clinicians) and for youth (i.e., children in elementary, middle, and high school) and also for parents who want their children to find success with literacy.

Research implications – In recent years “scaling up” and “scientific research” have come to dominate much of the literacy research landscape. While we see the value and necessity of large-scale experimental studies, we also posit that literacy centers have a unique role to play. Given that resources are scarce, literacy scholars must maximize the affordances of literacy centers as rich, productive research sites for the use and study of a reflective video pedagogy.

In this chapter, I explore how the queer-coding, gendering and policing of the monstrous female villain figure of twenty-first-century fairy tale media is interrogated and renegotiated in the transformative narrative tradition of femslash fan-fiction. With fan studies often focusing on the most popular, vocal fandom spaces and cultures, femslash (female-female) fan-fiction has been undertheorized in academic scholarship, just as queer female desire is routinely invalidated by the mainstream media properties that inspire femslash fans (Cranz, 2016; Gonzalez, 2016; Ng & Russo, 2017; Stanfill, 2017). By romantically and sexually pairing female villains with the heroines against whom they are canonically cast as antagonists, femslash fans of Once Upon a Time and The Devil Wears Prada subvert the heteronormative and anti-feminist plot machinery that pits women against each other. The engagement of femslash fan authors with the depiction of the characters Regina Mills and Miranda Priestly as literal and figurative ‘Evil Queens’ in their source texts highlights the extent to which both women are situated as ‘villains’ because of their position as ‘unhappy queers’ who obstruct heteronormative happy endings (Ahmed, 2010; Pande & Moitra, 2017; Strauch, 2017). While in the Swan Queen fiction somewhere, someone must know the ending (maleficently, 2012), Regina is only the Evil Queen in her son's imagination, as he tries to make sense of her infidelity, The Lily and the Crown (Telanu, 2013) recasts Miranda Priestly as Pirate Queen Mír, guilty of mass-murder, rather than merely acerbic barbs (as in the film). Through close readings, I argue that the way these texts ask their readers to consider the limits of both villains' desirability, by playing with the terms of their respective criminality, shows the extent to which nuancing and negotiating the ‘evil’ of these ‘queens’ is structurally embedded in these femslash fandoms. The femslash fannish investment these texts reflect, in both the figure of the queer female villain and those who desire her, proposes an alternative version of happiness to the heteronormative happy ending, one that does not attenuate the queer codes that position these ‘Evil Queens’ as monster-outsiders to it, but embraces that monstrosity as a site of power, progress and futurity.

After the dilemma at the crossroad of selling the family business and retire or take over from the shareholders in 2005, Andy Makmur was again thinking about his retirement in 2011. Now 70 years old, he was over the average retirement age and still commuting between Indonesia and Singapore for business operations and family. Glopac Chemical had been gradually improving financially since the takeover in 2005, with the help of Andy's two offsprings, John and Victoria. The joint force of John looking after the business development and Victoria on management control systems was a perfect combination in turning Glopac Chemical from making loss to profiting. However, recent developments had led to misunderstanding between John and Victoria, where they were on non-talking terms except communicating on work matters. This was a major headache for Andy, as he couldn't leave his life time's work to his offsprings who would not talk to each other.

Dockspeed Ltd., features Andy Ingleston, an entrepreneurial graduate with “diesel in his blood” and a passion to create his own business. Part A described Andy's initial business idea, to assist small hauliers avoid wasted driver down time in the congested mid‐1980's Dover port. Parts B & C track the opportunities taken by the entrepreneurial owner to build the company from a single vehicle to a well controlled refrigerated transport fleet, with subsidiaries in France and Spain.

Plugging into the multimodal aesthetics of youth lifestreaming, this article examines how three lesbian, gay, bisexual, transgender and/or queer (LGBTQ) youths use digital media production as an activist practice toward cultural justice work. Focusing on the queer rhetorical dimensions of multimodal (counter)storytelling, the communicative practice used to (re)name, remix and challenge epistemic notions of objective reality, this paper aims to highlight how youth worked to (de)compose and (re)author multiple identities and social relationships across online/offline contexts.

Through sustained participant observation across online/offline contexts, active interviewing techniques and visual discourse analysis, this paper illuminates how composing with digital media was leveraged by three LGBTQ youths to navigate larger systems of inequality across a multi-year connective ethnographic study.

By highlighting how queer rhetorical arts were used as tools to surpass and navigate social fault lines created by difference, findings highlight how Jack, Andi and Gabe, three LGBTQ youths, used multimodal (counter)storytelling to comment, correct and compose being different. Speaking across the rhetorical dimensions of logos, pathos and ethos, the author contends that a queer rhetorics lens helped highlight how youth used the affordances of multimodal (counter)storytelling to lifestream versions of activist selves.

Reading LGBTQ youths’ lifestreaming as multimodal (counter)storytelling, this paper highlights how three youths use multimodal composition as entry points into remixing the radical present and participate in cultural justice work.

This paper aims to compile an annotated list of films about or pertaining to the artist Andy Warhol.

Films were located using library catalogs, databases and online searches. Selections were evaluated through inspection and both academic and popular film reviews. Inclusion was predicated not only on subject matter and merit but also on availability either on home media or online.

Warhol’s many artistic creations can be introduced and evaluated using a combination of visual and auditory representation. Movies and television (TV) depicting Warhol through dramatization, primary source film, biographical documentary and his art in the context of other artists and movements are readily available through a variety of media.

The selected titles provide a comprehensive introduction to the scholarly analysis of Warhol’s art and work through a format that allows the most extensive representation of Warhol’s artistic output.

The purpose of this paper is to explore the emic theme of “unqualified social work” as part of the process of property management in a self-described “letting agency with a difference” in Edinburgh, set in the context of the rapid expansion of the private rented sector.

The paper is based upon ethnographic data from participant observation in a letting agency and unstructured interviews with their employees.

The paper suggests that the shift in Scotland in terms of the provision of housing and housing-related services from the public sector to the private rented sector in recent decades has engendered new social and economic relations in which property managers become “unqualified social workers”.

The paper aims to exemplify how anthropology and ethnographic research may contribute to the understanding of the private rented sector and of property management.

The paper aims to contribute to the wider literature on the private rented sector by foregrounding the role of the property manager. The paper also brings an analysis derived from the anthropology of ethics to an ethnographic understanding of property management and the private rented sector.