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Describes the use of management learning contracts (MLC) for an MBA degree. While Part 1 described setting up the learning contract, Part 2 reports on the concepts, activities and assessment of learning taking place.

Describes one of three reports submitted under Durham University/Northern Regional Management Centre′s competence‐based MBA – Directing and Developing Subordinates. The Management Learning Contracts approach required: assessment of self; selection of learning objectives (McBer Competences) and business‐related learning opportunities. Concepts considered were: influence and power; behavioural aspects; involving leaders in developing others; developmental techniques. Describes a work‐based action programme developing a subordinate utilizing those concepts with an analysis of learning which occurred and the extent to which this met the learning objectives.

Fairy tales and their movie counterparts have, for decades, been a means of socialising children and audiences regarding gender (e.g., Shewmaker, 2015; Whitley, 2013). Specifically, Disney movies that portray fairy tales have strongly influenced how young children learn gender roles and gendered behaviours, yet deeper examination is needed of how Disney portrayals of masculinities have evolved among these films and across character type to understand how Disney may be reflecting or impacting dominant representations of masculinity that privilege certain identities and characteristics over others (Brode, 2016). While previous work has examined Pixar films as socio-culturally meaningful for representations of boyhood that remain grounded in traditional, hegemonic notions of masculinity (Wooden & Gillam, 2014), this chapter adds to the body of work by employing a critical content analysis of Disney films from Snow White and the Seven Dwarfs to Disney's most recent addition of Strange World to answer the questions about how masculinities are portrayed. Through answering these questions of evolved representation throughout close to a century amount of work, we contribute to scholarship that attempts to understand media influences on boyhood culture, which is considered in crisis due to overemphasised representations of powerful, strong male characters that hide their emotions (Brode, 2016; Wooden & Gillam, 2014).

ON another page will be found preliminary notes with regard to the Annual Conference of the Library Association at Liverpool. We have before us at the time of writing only an outline of the programme, but we hope to foreshadow in the May Number further features of the June Meeting, and to publish articles on the Literary Associations and Libraries of Liverpool.

The Bureau of Economics in the Federal Trade Commission has a three-part role in the Agency and the strength of its functions changed over time depending on the preferences and ideology of the FTC’s leaders, developments in the field of economics, and the tenor of the times. The over-riding current role is to provide well considered, unbiased economic advice regarding antitrust and consumer protection law enforcement cases to the legal staff and the Commission. The second role, which long ago was primary, is to provide reports on investigations of various industries to the public and public officials. This role was more recently called research or “policy R&D”. A third role is to advocate for competition and markets both domestically and internationally. As a practical matter, the provision of economic advice to the FTC and to the legal staff has required that the economists wear “two hats,” helping the legal staff investigate cases and provide evidence to support law enforcement cases while also providing advice to the legal bureaus and to the Commission on which cases to pursue (thus providing “a second set of eyes” to evaluate cases). There is sometimes a tension in those functions because building a case is not the same as evaluating a case. Economists and the Bureau of Economics have provided such services to the FTC for over 100 years proving that a sub-organization can survive while playing roles that sometimes conflict. Such a life is not, however, always easy or fun.

LIBRARY Association Council elections move on the principle common to those of municipalities: there is a three‐year service for each member and a rota by which one‐third of the members submit themselves yearly to the electors. It used to be the custom of the Council to retire wholly and to renominate its retiring members, which meant all of themselves, and so recommend themselves to the suffrages of the members of the Association. That has been abandoned and has been replaced by a certain amount of electioneering. It is natural for any section of the Association to want to choose and to instruct its own candidates but it can be an unfair thing for, say, the A.A.L. to ask its members to support in body its own particular men. The A.A.L. does not recruit its members. They are mainly students who have to join the Library Association in order to sit its examinations and by doing so are automatically allocated to A.A.L. membership. The whole position needs revision and, as a part of the L.A., it should be ordained that when a man becomes a chief librarian his A.A.L. activities should be transferred entirely to the senior body.

The purpose of this article is to help librarians interested in developing a basic understanding of Sub‐Saharan African cinema and increase awareness of the resources available when building a collection of sub‐Saharan African films for their library. A general review is provided to help become familiar with the history and nature of the four regions discussed.

A collection development project to expand a mid‐sized university's collection of sub‐Saharan African films is discussed. Includes brief historical information and core titles, selected for their historical role and/or ease of purchase.

A list of core films is recommended for academic and public libraries representing four geographic regions of sub‐Saharan Africa: Nigeria, South Africa, West Africa, and East Africa.

Unfortunately, many of the titles referenced in academic literature and winners of African film awards are not available for purchase outside of Africa, making it impossible to accomplish our goal of collecting a core list as intended.

The paper increases awareness of African cinema and value inclusion in library collections.

While there are general articles on the topic of African cinema, there are no recent articles on the topic of collecting African films for libraries.