Editors: Toni Johnson-Woods and Vicki Karaminas
Guest Editors: Toni Risson and Donna Lee Brien
Reviews Editor: Anne Cecil and Lorna Barrow
2012, 3 issues per volume | Current issue: 2.1
ISSN: 20455852, Online ISSN: 20455860
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The Australasian Journal of Popular Cultureis a peer-reviewed journal with an international focus. It is the official publication of the Popular Culture Association of Australia and New Zealand (Popcaanz) and is published three times a year. The journal is devoted to the scholarly understanding of the artefacts and social practices that are produced and are circulated in everyday life. It offers a broad range of scholarly material about many popular culture topics: academic articles; books, exhibitions, video games, new media, website reviews; 'notes' and 'essays' (original research that is shorter than the scholarly articles). The journal's aim is to publish innovative scholarly research about popular culture for an international readership. We invite contributions from academics, professionals, cultural practitioners, and those with a scholarly interest in popular culture. All relevant material is considered and a CFP is available online.
Food, glorious food... In their Editors' letter, Toni Risson and Donna Lee Brien highlight the emergence of food in popular culture. The contemporary interest in all things food related is shown through numerous films, television shows and the rise of the celebrity chef. In this issue, Susie Khamis examines the Bushells tea brand in relation to Australia's changing political culture while Jill Adams explores Australia's coffee culture. Carmel Cedro discusses the history and evolution of the Dolly Varden cake and its relation to contemporary ideas of the feminine, as well as cake decorating as a new art form. The wedding cake is deconstructed by Adele Wessell, who reflects on what it reveals about Australian identity, particularly in relation to the monarchy. Toni Risson examines The Australian Woman's Weekly Children's Birthday Cake Book and the visual pleasure and excitement that these cakes create through the use of common confectionery as cake decoration. Lorna Piatti-Farnell considers the function of food and consumption in Katherine Mansfield's fiction. Lindsey Neill and Claudia Bell take a nostalgic look at pie carts along with three celebrity narratives. Rachel Franks and Donna Lee Brien outline the wide range of material that can be used when taking a popular culture approach to food studies. The article concludes with reports from André Taber and Michael Symons and finally includes a selection of reviews.
Theme Issue: Queer Cinema in the 21st Century
Queerness has been represented on film, in varying ways, from the advent of motion pictures to the present day. This special issue of New Cinemas: Journal of Contemporary Film will explore the forms and functions of queer cinema in the early years of the 21st century. Completed articles on any topic pertaining to contemporary cinema studies at the intersection of gender/sexuality studies and/or queer theory are invited from scholars, educators, and students of various levels and disciplines.
Questions of relevance to the contents of this special journal issue include: (1) What cultural status does queer cinema possess in the early 21st century? (2) In what noteworthy ways does 21st-century queer cinema represent an extension of, and/or a significant deviation from, queer cinematic offerings of the past? (3) What sorts of representational patterns are evident in contemporary queer cinema, and whose interests do they ultimately serve? (4) What does the (near) future of queer cinema look like, and what are the cultural implications of this likely state of affairs for members of various cultural and demographic groups?
Of particular interest are insightful, theoretically informed articles pertaining to especially unique, noteworthy, and/or culturally influential representations of gay men, lesbians, bisexuals, and/or transgendered individuals in films (and/or related emerging media forms) released from the year 2000 to the present. Also of interest are articles pertaining to other topics of relevance to queer theory (e.g., fetishism, gender bending, homoeroticism, homosociality, masochism, sadism, sex work, etc.) as they are explored in cinematic offerings of the early 21st century.
Original submissions of approximately 15-25 typed, double-spaced pages should be e-mailed to guest editor Kylo-Patrick Hart (firstname.lastname@example.org) by October 15, 2012.
To facilitate the process of blind peer review, please include your name, complete contact information, and essay title on a separate cover sheet; with the exception of your essay title, please do not repeat this information on your first page of text. Please prepare your submission using the Harvard referencing system, with bibliographical references embedded in the main text in the following format (Harper 1999: 27) and a single bibliography at the end of the article. For additional references and style information, please consult the Intellect Journals House Style guide.
Please direct any inquiries to the editor of this themed issue, Kylo-Patrick Hart, at email@example.com.
Inaugural issue available free online
Founder and Editor: Kamal Salhi
Reviews Editor: Zahia Smail Salhi
2012 | Volume 1: 2 issues per volume | ISSN: 20431015, Online ISSN 20431023
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Intellect is delighted to announce the publication of Performing Islam and to celebrate the arrival of this groundbreaking journal we are offering issue 1.1 for FREE online. Click here to view and download.
Emerging from an international network project funded by the British Arts and Humanities Research Council and the Economics and Social Research Council, and research collaboration between academics and practitioners, Performing Islam is the first peer-reviewed interdisciplinary journal about Islam and performance and their related aesthetics. It focuses on socio-cultural as well as the historical and political contexts of artistic practices in the Muslim world. The journal covers dance, ritual, theatre, performing arts, visual arts and cultures, and popular entertainment in Islam-influenced societies and their diasporas. It promotes insightful research of performative expressions of Islam by performers and publics, and encompasses theoretical debates, empirical studies, postgraduate research, interviews with performers, research notes and queries, and reviews of books, conferences, festivals, events and performances.
Founder and Editor Kamal Salhi introduces the first issue of this exiting new publication, which marks an important moment in the investigation of religion post 9/11. In this issue, Matthew Isaac Cohen explores Javanese performance theory, and Mona Khedr considers gender representations of Muslim femininity in Alfred Farag's The Last Walk, discussing the position of women in Islam. Hae-kyung Um probes the debate surrounding identity and music within the South Asian diaspora in a transnational, global context, and Razia Sultanova examines Sufi music in contemporary Central Asian cities. Amy Catlin-Jairazbhoy explores the linguistic contexts surrounding Sidi Sufi rituals of devotion and, in a compelling article exploring issues of identity, authenticity and acceptance of converts to Islam, Leon Moosavi draws an enlightening comparison between Goffman's ideas about performance and Bourdieu's ideas about 'habitus'. Thomas Hodgson interviews Raja, a British Kashmiri radio DJ living in an industrial town in the West Midlands, England rife with racial and religious prejudice. Finally, the issue concludes with a unique review of the fourth Fez Festival of Sufi Culture, and the intersection and conflicting nature of spirituality and commerce amongst its different participants.
Click to view a complete table of contents.
Visit the journal online for more details, or please contact James Campbell.
To contact the Editor directly email: firstname.lastname@example.org.
The piece examines the impact of ideas such as fame and narcissism.
Transgendered playwright–performer, columnist and sex worker Nina Arsenault has transformed herself through numerous plastic surgeries in the pursuit of a feminine beauty ideal. Nina is the subject of a new publication from Intellect, TRANS(per)FORMING Nina Arsenault: An Unreasonable Body of Work, edited by the award winning dramaturg, Judith Rudakoff.
This extract from an interview with Nina Arsenault, featured in Vice magazine, examines the impact of ideas such as fame and narcissism. In Nina’s case, she has become an empathetic, positive artist. However, the same cannot be said for Luke Magnotta, an alleged murderer whom Nina previously had a relationship with. This interview attempts to examine the motivation behind these crimes by considering the parallels between Nina and her ex-lover but while also discussing the different paths they have taken.
Narcissism obviously played a part in Magnotta's demented psychology, and it's a subject that also applies to your work and life. Can you talk a bit about your thoughts on narcissism and how it needn't necessarily be a psychopathological impulse?
I think it’s important to differentiate between narcissism and Narcissistic Personality Disorder. To my understanding, having NDP means not being able to have empathy for others and to habitually manipulate others for your own gratification. People with this disorder lack an emotional understanding of the feelings of other people, that others have needs and an existence that continues after you leave the room. Then I think there is a narcissism that is not necessarily pathological, but probably more and more prevalent in society, which is the tendency to understand our own lives and the lives of others based strictly on the value of our visual image. Our lives become like the movies we are watching or the video games that we are playing, having a certain emotional detachment. Cinema, video games, and social networking have taught us that we can imagine ourselves as an avatar of our being, as a (glamorous) moving image. This can be good or bad, depending on how you use it.
You and Magnotta have both altered your appearance through plastic surgery. How do you think this relates to narcissism?
Multiple cosmetic procedures allow you to sculpt a new image of yourself into your very own body. As an artist who uses video images, online media, and plastic surgery, I wanted to explore this phenomenon. I’ve used autobiographical material from my life, and I’ve never tried to deny my narcissism. Instead I’ve tried to investigate my tendency to understand myself as an image, wanting to be a pure image, and the impossible desire to have no thoughts or feelings, to be just an object in some sense. I needed to get into this part of my psychological landscape, not to escape or deny it, and to search again for an authentic self. Because I am an artist, I do this by expressing it publicly, by making work.
Follow the link to read the entire article: www.vice.com
A very positive review of Brit Wits: A History of British Rock Humor in the Los Angeles Review of Books:
“For the uninitiated. ‘British rock wit’ may seem like Ellis’s invention of a subculture, but the links between British rock music and sociopolitical comedy are myriad, thrilling and very real. In a roughly chronological narrative, pinned to 60 years of musical history, Ellis explores these links while providing key political context and fascinating sociological analysis. This book is more than a rundown of the thousand witty songs you’ve got to hear before you die; it’s a study of how some of Britain’s most intelligent artists reacted to their political landscape by effectively subverting the mainstream.”
Congratulations to author Iain Ellis
In this interview, Alfredo Cramerotti discusses his position as Director of the Mostyn gallery, the largest publicly funded contemporary art institution in Wales. As well as recognising its rich history, Alfredo also reveals his vision for the future. The Wales Pavillion at the 55th Venice Bienalle will be represented by the artist Bedwyr Williams and co-curated by Alfredo along with Amanda Farr.
Interview taken from www.artmediaagency.com
If you would like to continue reading more of this interview, please click here.
London: 11-13 July
Fresh off the back of a successful trip to Melbourne to attend the Popular Culture Association of Australia and New Zealand 3rd Annual Conference we will be attending another Popular Culture Association conference this week, but this one is being held in good old Blighty.
This week will bring together scholars from across the globe to celebrate and illuminate the study of European Popular Culture as London plays host to the Inaugural European Popular Culture Association Annual Conference, which will be held at the London College of Fashion.
The conference runs from Wednesday 11th through to Friday 13th July but it is still not too late to take part as day rate tickets are still available and Intellect authors and editors are entitled to a special discount, please contact James Campbell (email@example.com) for more details.
EUPOP 2012 will explore European popular culture in all its different forms. This might include European Film (past and present), Television, Music, Celebrity, The Body, Fashion, New Media, Comics, Popular Literature, Sport, Heritage and Curation.
This conference will launch the European Popular Culture Association. 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/.
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.
EPCA and 2012 EPCA Conference Directors
EPCA President, Pamela Church Gibson firstname.lastname@example.org
Director of Research & Exchange, Graeme Harper email@example.com
Conference Administrator: Sarah-Jane Simpson firstname.lastname@example.org.
EUPOP 2012 is on Twitter
You can follow the EUPOP2012 Conference on Twitter @EUPOP2012
Contribute to the Conference back channel on Twitter via the hashtag #EUPOP2012
Please join in and spread the word.
Intellect would like to take this opportunity to thank EPCA President Pamela Church-Gibson and all her team for their hard work getting this event up and running.
'Lovers of German cinema are advised to take note of a new English language book called DIRECTORY OF WORLD CINEMA: GERMANY, the latest in a series of specialist volumes on different aspects of world cinema from UK-US publisher Intellect.
I interview the book's editor, Michelle Langford, Senior Lecturer in Film Studies at UNSW, below, but first a couple of observations.
Apart from the informative and often insightful writing, the book's bright and attractive design makes it very appealing to flick through and read. The use of clean sans-serif fonts and smart photo selection (mainly black and white but with selective use of colour) continually invite the reader to delve more deeply into the text.
Second observation: apart from an introductory section on early film pioneers (the Sladanowsky Brothers, Arnold Fanck and Walter Ruttmann), the book is organised according thematically rather than chronologically. Hence chapter headings such as Fantastic Film, Der Heimatfilm, War Film, Foreigners and Guest Workers, Queer, The Berlin Wall, et al.'
Read the complete interview here: http://blog.goethe.de/
Paris in Genres Guest Post: Diva (1981)
To read the full blog please visit Eternity of Dream online.
To find out more about Marcelline Block or the World Film Locations: Paris, click here to visit the webpage.
"Jean-Jacques Beineix’s oeuvre includes several of the major works of the 1980s French cinema movement dubbed the “Cinéma du Look”: defined by Ginette Vincendeau as “youth-oriented films with high production values…The ‘look’ of the cinéma du look refers to the films’ high investment in non-naturalistic, self-conscious aesthetics, notably intense colours and lighting effects” (Vincendeau 1996, 50). Appearing before his monumental 37°2 le matin/Betty Blue (1986), Beineix’s 1981 Diva (adapted from Daniel Odier’s novel) inaugurated him as an auteur of complex, lengthy narratives with striking visuals that form his trademark aesthetic and mise-en-scène. Central to Beineix’s films is the intersection of romantic relationships—happy or not—and creative endeavor, such as that of the aspiring author Zorg (Jean-Hughes Anglade) and his ultimately tragic love for Betty (Beatrice Dalle) in Betty Blue or Jules’ (Frédéric Andrei) obsessive passion for an American opera icon, Cynthia Hawkins (played by real life opera singer Wilhelmina Wiggins Fernandez), the titular “Diva” of Beineix’s first feature film, which won the César for Best Debut. In Diva, Hawkins’ refusal to record her singing—the cornerstone of her philosophy as an artist—propels the narrative’s unfolding. Likening bootleg recordings of her performances as a violation of her artistic integrity, she describes the concert as a privileged moment between artist and public, declaring that “music, it comes and goes; don’t try to keep it,” thus somewhat evoking Walter Benjamin’s essay “The Work of Art in the Age of Mechanical Reproducibility” (1935)."
Launched at the Fugard Theatre in Cape Town. Scriptwriter Clarien Luttig interviewed the author Martin Botha.
Here is an extract from the interview, which can be read in full on Martin's blog.
Clarien: 113 years of a country’s cinema history is a rather impressive subject to examine, especially when it’s as tumultuous as the South African one. From early newsreels to post-apartheid’s cinema of marginality, with the so-called “Hollyveldt” era, the embarrassment of the B Scheme films, subversive screenplays that managed to slip their oppositional themes past the censorship boards, a range of visionary filmmakers and much more in-between… What inspired and motivated you to tackle such a task?
Martin: The aim was to provide correct (verified) historical information about key players in our film industry to film researchers, academics, film industry professionals and the general public. The aesthetic achievements of great cinematographers and directors have been celebrated by the inclusion of images from almost numerous films. The manuscript started as a historical dictionary, but eventually I decided to present the various entries on the film industry as an integrated chronological narrative of South African cinema from 1896 till 2010. This monograph is an attempt to describe, contextualise and analyse the aesthetic highlights of South African cinema from 1896 till 2010 by focusing on the use of film form, style and genre against the complex socio-political background of the past 113 years. The book is the culmination of 30 years of personal research into South African cinema and builds on my previous books, namely Images of South Africa: the rise of the alternative film (1992), Movies Moguls Mavericks: South African cinema: 1979-1991 (1992), Kronieken van Zuid-Afrika: de films van Manie van Rensburg (1997), Jans Rautenbach: Dromer, baanbreker en auteur (2006) as well as Marginal Lives and Painful Pasts: South African cinema after apartheid (2007). I have tried not to use the type of academic style, which would alienate film industry professionals and the general public. The monograph is also an attempt to move beyond the type of ideological analysis, which dominated South African film studies for the past few decades. Although producing significant studies on the representation of class and/or race in South African cinema scholars such as Keyan Tomaselli (1989), Peter Davis (1996), Isabel Balseiro and Ntongela Masilela (2003), as well as Jacqueline Maingard (2007) were also more occupied with the social, cultural, economic and political history of South African cinema before and during the apartheid years than artistic processes. As a result the artistic achievements of film directors, cinematographers, actors, art directors, composers, editors and other members of the production teams received little scholarly attention. Recent attempts to rework the history of South African cinema such as Isabel Balseiro and Ntongela Masilela’s edited volume, To Change Reels: Film and Film Culture in South Africa (2003), as well as Jacqueline Maingard’s South African National Cinema (2007) devoted entire chapters to the ideological analysis of films such as De Voortrekkers (1916), Cry, the Beloved Country (1951) and Come Back, Africa (1959), but in the process ignored the significant oeuvres of directors such as Ross Devenish, Manie van Rensburg, Jans Rautenbach, Katinka Heyns, Darrell Roodt, as well as many of the directors of the 1980s.