Amy, Holly, and our intrepid intern, Maya, are just back from the College Art Association’s centennial conference in Los Angeles. What a remarkable event! Intellect’s book and journal portfolio drew record numbers of attendees to our display and sales were through the roof. Thanks in part to the book signing for Artist-Scholar and Artist-Teacher, by G. Jim Daichendt, the press posted record sales.
Jennifer Fisher and Jim Drobnik fielded questions regarding their new Journal of Curatorial Studies, which attracted swarms of interested parties. The editor session hosted by Bill Catling and Jim Daichendt in support of the new journal, Visual Inquiry: Learning & Teaching Art also proved popular—not one copy was left at conference end. The greatest indicator of success—no journals to ship home!
It was a privilege to share the exciting new work from our ever expanding and impressive group of authors and editors. CAA attendees were also so moved by Intellect’s commitment to the arts as to create artful collages incorporating snippets from our ‘Why Art Matters’ magazine. Thanks to Paul Skiff and event organizers for putting on such a terrific event. We can’t wait for next year’s conference back in New York City.
New journal - issue 1.1 available to download free
Intellect is delighted to announce the launch of the new journal, Book 2.0.
View the first issue 1.1 free online.
For centuries the book has been the most widely used and powerful medium for the exchange of ideas and information - not only bringing pleasure, but also stimulating discussion and debate, inspiring imagination and invention, and even inciting revolution. Book 2.0 is an exciting new interdisciplinary journal exploring current developments in all aspects of book production, design, distribution and consumption. Re-evaluating the place of the book in the twenty-first century within the context of the medium's rich history as a platform for sharing knowledge and ideas, the journal also explores the possibilities for the book afforded by recent developments in communication technologies, speculating on what the future holds for the book. Book 2.0 assembles writers, teachers, researchers, artists, designers, editors, publishers and book lovers of all backgrounds to provide a forum for debate, discussion and original thinking.
FREE issue available through our website
Intellect is delighted to announce the publication of our Moving Image Review & Art Journal. To celebrate the arrival of this groundbreaking journal we are offering issue 1.1 for FREE online.
About the Journal
'Artists' moving image is a hard topic to pin down, and its images and effects are multiple and mutable, but it has a substantial history. Snaring that history – or rather its manifold histories – in the pages of MIRAJ is one of the aspirations of our enterprise' - Catherine Elwes, Founding Editor, MIRAJ
The Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed scholarly publication devoted to artists’ film and video, and its contexts. It offers a forum for debates surrounding all forms of artists’ moving image and media artworks: films, video installations, expanded cinema, video performance, experimental documentaries, animations, and other screen-based works made by artists. MIRAJ aims to consolidate artists’ moving image as a distinct area of study that bridges a number of disciplines, not limited to, but including art, film, and media. Reflecting the subject matter this journal contains many innovative elements and includes lots of black and white and colour imagery throughout.
The first issue contains exciting work from an impressive list of contributors including Catherine Elwes, Maeve Connolly, Erika Balsom and Sean Cubitt. Articles and features represent a broad range of exceptional scholarship including such pieces as 'Brakhage's sour grapes, or notes on experimental cinema in the art world' an article which examines the place of experimental cinema within the contemporary museum in order to challenge the commonly held assumption that it is somehow opposed to, or at least outside, the art world. For a complete list of articles and abstracts please visit: http://bit.ly/yuKTFl. As well as articles and features the journal is also home to a vibrant Reviews section and Founding Editor, Catherine Elwes, frames the whole issue with a rousing editorial.
Visit the journal online for more details, or please contact James Campbell.
Moving Image Review & Art Journal (MIRAJ) | 2012, Volume 1: 2 issues per volume ISSN 2045-6298, Online ISSN 2045-6301
Subscription information: http://bit.ly/zFOdQk Subscription rates: Institutional: £110 / $154 | Online only: £75 / $105 | Personal: £36 / $68
Catherine Elwes, CCW Graduate School, University of the Arts London
Sean Cubitt, University of Southampton & University of Melbourne; Eu Jin Chua, Unitec, New Zealand; Janine Marchessault, York University, Canada
Pryle Behrman, Writtle School of Design, University of Essex
Erika Balsom, Carleton University, Canada; Lucy Reynolds, CSM, University of the Arts London, UK
Editorial Assistant: Kate Pelling, CCW Graduate School, University of the Arts London. Editorial Board: Rachel O. Moore; A.L. Rees. International Advisory Board: Mark Bartlett; Suzanne Buchan; Ian Christie; Stuart Comer; Maeve Connolly; David Curtis; T.J. Demos; Thomas Elsaesser; Stan Frankland; David E. James; Laura Mulvey; Mark Nash; Michele Pierson; Catherine Russell; Tom Sherman; Lisa Steele; Amrit Gangar.
The Bristol Radical Film Festival screens some of the most socially and politically engaged documentary films from around the world. Taking place over the course of a week, the festival hosts screenings in a variety of community-based venues, culminating in a weekend of screenings, talks, workshops and debates at the entirely volunteer-run and not-for-profit cinema, The Cube. The variety of venues reflects the festival's aim to bring this kind of cinema out from the shadows and in the community.
Journal of Curatorial Studies launch and 'Meet the Editors' Session
It's time for the College Art Association again and this year it is being hosted in the Golden State, California, in celebration of the 100th annual CAA Conference. CAA brings together over 5,000 artists, students, art historians, critics and curators each year all in the name of art. There will be workshops on everything from art history in the digital age to new instructors help sessions. CAA also hosts a Book and Trade fair with more than 120 publishers including Intellect's vast array of journals there this year. Several tours, open houses and exhibitions will as well take place along with a distinguished scholars session honoring Rosalind Krauss, an acclaimed art theorist and critic. Along with other events are over two hundred sessions at this years CAA conference.
Intellect will be hosting a meet the editor session with editors Jennifer Fisher and Jim Drobnick on the Journal of Curatorial Studies. This journal is an international, peer-reviwed journal which examines the theory, practice and history of curating of not only art objects, but as well encompass' performative, virtual and interventionist strategies. The journal investigates both contemporary and historical exhibitions in art and looks at case studies of curators and their investigations. The Journal of Curatorial Studies welcomes submissions from scholars in art history, curatorial studies and other academic disciplines and features case studies, research articles, interviews, book reviews and more.
For more information please contact Amy Damutz.
Intellect's Founder and Chairman - Masoud Yazdani - will be visiting Toronto to attend two special events
As part of our growing connection with the city, Masoud Yazdani will be visiting Toronto to attend a number of events and conduct an information session.
Why publish your research with Intellect?
An information session with Intellect Founder Masoud Yazdani
Thursday, March 1, 3:30-5:00pm
MLC Research Centre, Ryerson University
111 Gerrard Street East, Room GER-354
All are welcome. Refreshments served.
The Journal of Curatorial Studies launches its inaugural issue at
Onsite [at] OCAD University
230 Richmond Street West, Toronto
Thursday, March 1, 5:30-7:30 pm
Join us in celebrating this occasion and contact firstname.lastname@example.org for more information.
11-13 July 2012
London College of Fashion
University of the Arts
Extended deadline for abstracts: 3rd March 2012.
For this final call for papers, the conference organisers would particularly welcome individual papers and panel contributions in the following areas:
- The body and its representation
- Comics and graphic novels
- Heritage / curation
This conference will launch the European Popular Culture Association (EPCA) and will explore European popular culture in all its different forms. There will be opportunities for networking and for developing caucus groups within the EPCA. Presenters at EUPOP2012 will be encouraged to develop their papers for publication in a number of Intellect journals, including the new Journal of European Popular Culture, the journal of the EPCA, other film journals including Film, Fashion and Consumption, and various music journals.
JOURNAL EDITORS WILL BE WORKING CLOSELY WITH STRAND CONVENORS - a full list of Intellect journals is available at: http://www.intellectbooks.co.uk/journals/index/
Papers and Complete Panels for all strands should be submitted to the email contact below. Paper/panel submissions will be as always subject to peer review:
Submit paper or panel proposals* to: email@example.com
• The same address should be used for general administrative queries
For further details and updates - visit the conference website at: http://eupop2012.tumblr.com
You can follow the EUPOP2012 conference on Twitter @EUPOP2012
Please spread the word and use the hashtag #EUPOP2012 when retweeting and / or contributing to the conference back channel.
- The European Popular Culture Association –
The European Popular Culture Association (EPCA) promotes the study of popular culture from, in, and about Europe. Popular culture involves a wide range of activities, outcomes and audiences; EPCA aims to examine and discuss these different activities as they relate both to Europe, and to Europeans across the globe, whether contemporary or historical.
CLOSING DATE FOR THIS FINAL CALL FOR PAPERS: 3RD MARCH 2012.
- EPCA and 2012 EPCA Conference Directors -
EPCA President: Pamela Church Gibson firstname.lastname@example.org (or at the generic conference address given here)
Director of Research & Exchange: Graeme Harper email@example.com
CONFERENCE ADMINISTRATOR: SARAH-JANE SIMPSON
Sarah can be reached at firstname.lastname@example.org. We would suggest that you contact her speedily if you are coming from abroad and are wanting to discuss the availability of accommodation. Although the conference is well in advance of the Olympics, we have placed a notional hold on inexpensive hotel rooms and need confirmation ASAP.
'For much of his career, David Lynch’s reputation as a filmmaker outpaced the scholarly attention that he received. While there were a few popular introductions to his work, the only sustained scholarly analyses of his films were Michel Chion’s outstanding David Lynch and Martha Nochimson’s The Passion of David Lynch: Wild at Heart in Hollywood. As Lynch’s own filmic output has become more sporadic (two films in the last ten years), the number of books devoted to him has greatly multiplied. One new and welcome entrant into the canon of Lynch scholarship is Allister Mactaggart’s The Film Paintings of David Lynch, which offers an impressionistic account of the encounter with Lynch that views his films in relation to painting.
As Mactaggart himself helpfully summarises in a footnote to the introduction [21-22], there are more or less five distinct approaches to Lynch. The first stresses his formal innovations and classifies him as a Modernist or Postmodernist filmmaker, while the second points out the conservative or even reactionary tendencies present in his films (including racist and sexist tropes, nostalgia for the 1950s, and so on). The third perspective, embodied best by Nochimson, sees a balanced and holistic universe in Lynch’s films. A fourth position directly takes on those who view Lynch as a conservative and sees feminism or leftist politics implicit in his vision. The final theoretical perspective is perhaps the most widespread: championed by theorists such as Michel Chion and Slavoj Žižek, it takes a psychoanalytic—most often Lacanian—approach to understanding Lynch.'
Find out about The Film Paintings of David Lynch here: www.intellectbooks.com
Thanks to Ken, Lynnea and the crew of the Southwest Texas Popular Culture/American Culture Association for hosting such a tremendous conference last week in Albuquerque. This event drew scholars from across the globe—Germany, Finland, Japan, China—to participate in one of the most respected and successful popular culture meetings in the world. Over 900 academics contributed original scholarship to sessions dedicated to the analysis of cultural artifacts and constructs produced for mass consumption. Many exciting book proposals and journal possibilities were discussed. I look forward to following up with those who took the time to discuss their research and publishing goals with me. My gratitude goes to the association for creating such a welcoming and warm environment conducive to intellectual discourse—both for established and emerging scholars alike. We’ll be certain to be back next year!
Intellect is excited to announce the publication of the two latest additions to our World Film Location series, these volumes focus on Paris and Dublin respectively and can now be purchased from all good retailers or online, visit our homepage to find out more: http://www.intellectbooks.com.
The World Film Locations series explores and reveals the relationship between the city and cinema by using a predominantly visual approach perfectly suited to the medium of film. The city continues to play a central role in a multitude of films, helping us to frame our understanding of place and of the world around us. Whether as elaborate directorial love letters or as time specific cultural settings, the city acts as a vital character in helping to tell a story. To learn more listen to the World Film Locations Editors on the BBC - replay the interview here: http://bit.ly/wniobA.
World Film Locations: Paris
World Film Locations: Paris takes readers on an unforgettable tour of the City of Lights - past and present - through the many films that have been set there. Along the way, we revisit iconic tourist sites from the Eiffel Tower whose stairs and crossbars inspired more than one famous chase scene to the Moulin Rouge overlooking the famously seedy Place Pigalle. Other films explore lesser-known quartiers usually tucked away from the tourist's admiring gaze. Handsomely illustrated with full–colour film stills and contemporary location photographs, 46 scenes are individually considered with special attention to their use of Paris's topography as it intersects with characters, narrative, and plot. A host of important genres and cinematic movements are featured, including poetic realism, the New Wave, cinéma–verité, the literary works of the Left Bank Group, and Luc Besson's slickly stylized cinéma du look. Meanwhile, essays foreground contributions from Francophone African directors and émigré filmmakers. For those who have visited or those who have only imagined it through art, literature, and film, World Film Locations: Paris presents a wonder-filled cinematic exploration of the mythical city that fans of French cinema - and new initiates - will appreciate. Link to the webpage: http://www.intellectbooks.co.uk/books/view-Book,id=4839/.
World Film Locations: Dublin
With its rich political and literary history, Dublin is a sought after destination for cinematographers who have made use of the city's urban streetscapes and surrounding coastal and country settings in many memorable films, among them Michael Collins, The Commitments, and the 2006 musical drama Once. World Film Locations: Dublin offers an engaging look at the many incarnations of the city onscreen through 46 synopses of key scenes from films - either shot or set in Dublin - accompanied by a generous selection of full-colour film stills. Throughout the book, a series of essays by leading film scholars spotlight familiar actors, producers, and directors as well as some of the themes common to films shot in Dublin, including literature, politics, the city's thriving music scene, and its long history of organized crime. Also included is a look at the representations of Dublin before, during, and after the Celtic Tiger era. Sophisticated yet accessible, this volume will undoubtedly take its place on the shelves of film buffs and those interested in Irish culture. Link to the webpage: http://www.intellectbooks.co.uk/books/view-Book,id=4838/.
Praise for the series
World Film Locations: New York: 'An elegant tribute to the films and locations that have given New York its private real estate in our minds. The contributors are so immediately readable and movie-savvy.' – Roger Ebert
World Film Locations: Paris: 'A superbly edited collection that explores the most important movie city in the world' – David Sterritt
World Film Locations: London: 'A superb book, indispensable for any cinephile interested in London's psychogeography. I could pore over it for hours.' – Peter Bradshaw
Series website: http://www.intellectbooks.co.uk/books/view-Series,id=27/