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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.

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.

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.

This study examines how assurors make sense of sustainability assurance (SA) work and how interactions with assurance team members and clients shape assurors’ sensemaking and their actual SA work.

To obtain detailed accounts of how SA work occurs on the ground, this study explores three SA engagements by interviewing the main actors involved, both at the client firms and at their Big Four assurance providers.

Individual assurors’ (i.e. partners and other team members) sensemaking of SA work results in the crafting of their logics of action (LoAs), that is, their meanings about the objectives of SA work and how to conduct it. Without organizational socialization, team members may not arrive at shared meanings and deviate from the team-wide assurance approach. To fulfill their objectives for SA work, assurors may engage in socialization with clients or assume a temporary role. Yet, the role negotiations taking place in the shadows of the scope negotiations determine their default role during the engagement.

Two options are available to help SA statement users gauge the relevance of SA work: either displaying the SA work performed or making it more uniform.

This study theoretically grounds how assurors make sense of SA work and documents how (the lack of) professional socialization, organizational socialization and socialization of frequent interaction partners at the client shape actual SA work. Thereby, it unravels the SA work concealed behind SA statements.

The oldest parts of downtown Manhattan were built by the new immigrants who settled into separate districts to retain their language and customs safely.

Building on theories of adolescent learning, including cognitive, personal, social, and moral development, this chapter considers how using media literacy techniques to analyze a children’s television program can create wide-awake, active learners while dissecting media messages. By analyzing children’s television for its portrayal of race and ethnicity, this chapter will explore the role media play in children's understanding of people and cultures outside of their own. A textual analysis of episodes of Maya & Miguel, the chapter describes the depiction of several cultures found represented on the program including White, Asian, African, Dominican, and Mexican and how race, ethnicity, and culture is framed in the television program.

Some theories suggest that television is a primary tool in the socialization of children. Children are attracted to the animation in cartoons, the colors, the movement and the easy-to-follow simplicity of the dialogue. Given the impressionable nature of children, it is possible that they begin to act out the biased nature of the cartoons they watch. Thus, considering their vulnerability, information literacy is relevant to discerning media messages. In this way, information literacy converges with media literacy and visual literacy. Guiding children to interrogate what they view is critically important especially when they are at an age where they can be easily influenced by misinformation or dominant messages. Additionally, the volume of information is steadily increasing in the 21st century as are the modes for accessing, creating and manipulating information. Thus, this work will demonstrate how promoting participatory learning by objectively viewing media and exercising reflective thinking will be important components of children’s education in this millennium.

The purpose of this paper is to provide a framework of excellence for the development of an online press office at Cardiff Council.

The paper presents an analysis of key issues of public relations theory as they apply to the provision of an online press office. This is supported by a survey of journalists who have used Cardiff's media service and enhanced by assessment of examples of existing best practice across local authorities in the UK.

The result is a suggested framework of nine core elements for excellence, which draws on theory and practice and could be applied by other local authorities. The study shows that provided these guiding principles are followed, a basic site can be as successful as one with all the bells and whistles.

The paper makes a substantial contribution to the evidence base for the implementation of local authority online press offices in the UK.