World Film Locations is an exciting book series published by Intellect that explores and reveals the relationship between the city and cinema, providing an informative view on the cultural, factual and even mythical background of the role of the city within film. The series is illustrated throughout with screengrabs, stills of film locations as they appear now and city maps that include location information for those keen to investigate the cinematic landmarks of the cities, along with concise and intelligent reviews of the scenes and the films themselves.
The six latest additions are now available, please click on each link below for further information:
World Film Locations: Beijing
World Film Locations: Mumbai
World Film Locations: Berlin
World Film Locations: Vienna
World Film Locations: Reykjavík
World Film Locations: Melbourne
Existing publications in the World Film Locations series include New York, Tokyo, Paris, Las Vegas, Dublin and London. These books are ideal for the casual cinema-goer, the film buff, the traveller or the just plain curious!
The Journal of Urban Cultural Studies is a new peer-reviewed publication cutting across both the humanities and the social sciences in order to better understand the culture(s) of cities. The journal is open to studies that deal with culture, urban spaces and forms of urbanized consciousness the world over.
Although we embrace a broad definition of urban cultural studies, we are particularly interested in submissions that give equal weight to: a) one or more aspects of urban studies (everyday life, built environment, architecture, city planning, identity formation, transportation…) and b) analysis of one or more specific forms of cultural/textual production (literature, film, graphic novels, music, art, graffiti, videogames, online or virtual space…) in relation to a given urban space or spaces.
Essays of 7,000-10,000 words (including works cited and notes) should be sent by attachment to the Editor at firstname.lastname@example.org. JUCS is also open to proposals of special issues by guest editors working individually or in teams of two. All citations in other languages should be translated into English for the journal’s international reading public, in addition to including the original text. Please see Intellect's Style Guide for further details.
While the journal does not publish book reviews, we do publish review essays—which should discuss 3-5 recent books on a shared topic or theme (or place) and run from 2,500 to 4,000 words. Review essays of urban-themed installations or other works of art are also welcome. These essays will be reviewed in house. Given our visual focus, we are interested in original, unpublished artwork on the topic of cities and in publishing articles accompanied by images where appropriate.
We encourage a variety of approaches to the urban phenomenon—the strengths of the editorial board run from urban geography to literature and film, photography and videogames, gender and sexuality, creative economy, popular music, Marxist approaches, fashion, urban planning, anthropology, sociology, Deaf culture, built environment, philosophy, architecture, detective fiction and noir, and more…
Trevor Hogg chats with author Davide Caputo about the importance of Roman Polanski as a filmmaker...
'“I grew up in Winnipeg, Canada as an Italian-Canadian dual national,” states Davide Caputo, the writer responsible for Polanski and Perception: The Psychology of Seeing and the Cinema of Roman Polanski. “After high school I studied a year of sciences at university with an eye towards medical school, but in the second year I switched to Psychology which I found far more interesting than Chemistry. I was especially interested in Behaviourism back then, as it seemed to demystify Psychology with its rational approach to the study of human and other animal activity.” Movies became part of the academic studies for the undergraduate student. “I had always been a fan of cinema, and in my third year some friends and I became involved with the Winnipeg Film Group, which Guy Maddin was making quite respectable at the time with films like Tales from Gimli Hospital  and Careful . I decided to switch to a ‘double major’ in Psychology and Film and got to know Professor George Toles, Maddin’s collaborator, who was lecturing at the University of Manitoba.” In an effort to payoff his student loan debt, the graduate taught English in Italy, and ended up working in the UK and Switzerland earning a steady paycheque in the aeronautics industry; the love for cinema would lead him back to the UK to study film at Exeter where he did his Master’s and PhD. Reflecting on what movies left an indelible mark upon him, Caputo remarks, “As a teenager, a friend of mine turned me on to Woody Allen [Midnight in Paris], whose films I quickly became obsessed with and which provide their own cinema education through the multitude of film references they contain. In my undergrad course, I was exposed to the [neo] high modernist cinema of the 1960s [Bergman, Fellini, and Antonioni] which gave me a sense of the ‘worthiness’ of this field of study. I’m not sure this qualifies as a ‘movement’, but I’m sure like many others in their early twenties films like 8 ½  and Persona  blew me away; I’ve spent the last two decades coming to grips with them. Kubrick [2001: A Space Odyssey] was another major name for me at the time, and continues to be, so in most respects I was a typical cinephile ‘fan boy’ [and still am].”'
Deadline: 11th January 2013
The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by IntellectBooks in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms ofartists’ moving image and media artworks.
The editors invite contributions from art historians and critics, film and media scholars, curators, and, not least, practitioners. We seek pieces that offer theories of the present moment butalso writings that propose historical re-readings. We welcome essays that:
• re-view canonical works and texts, or identify ruptures in the standard histories of artists’ film and video;
• discuss the development of media arts, including the history of imaging technologies, as a strand within the history of art;
• address issues of the ontology and medium-specificity of film, video and new media, or the entanglement of the moving image in a ‘post-medium condition’;
• attempt to account for the rise of projected and screen-based images in contemporary art, and the social, technological, or political-economic effects of this proliferation;
• investigate interconnections between moving images and still images; the role of sound; the televisual; and the interaction of the moving image with other elements including technology, human presence and the installation environment;
• analyse para-cinematic or extra-cinematic works to discover what these tell us about cinematic properties such as temporal progression or spectatorial immersion or mimetic representation;
• explore issues of subjectivity and spectatorship;
• investigate the spread of moving images beyond the classical spaces of the cinema and galleries, across multiple institutions, sites and delivery platforms;
• consider the diverse uses of the moving image in art: from political activism to pure sensory and aesthetic pleasure, from reportage to documentary testimony, from performativity to social networking;
• suggest new methods of theorizing and writing the moving image.
We welcome work that intersects with other academic disciplines and artistic practices. We encourage writing that is lucid without compromising intellectual rigour.
All submissions should be in English and adhere to the Intellect Style Guide.
Please submit completed manuscripts only. Send all contributions and proposals by e-mail in DOC or RTF format to the Editorial Assistant: email@example.com
Click 'Read more' to review the complete Call for Papers.
In a recent review by John Semley at the AV Club Intellect's Un-American Psycho gets compared to Hitchcock's Vertigo, now that can't be a bad thing...
"Un-American Psycho is a comparable work, organized in large part around salvaging the reputation of Brian De Palma, another filmmaker whose name is commonly (and usually negatively) mentioned in the same breath as Hitchcock’s. Debut author Chris Dumas proceeds from the position that De Palma has been widely scolded (or worse, ignored) throughout his career. While early films like Greetings and Hi, Mom! were strongly of a piece with the aesthetic and political revolutions of the so-called New Hollywood of the late ’60s and early ’70s, they’re rarely mentioned in surveys of the era. (In his bestselling oral history of the period, Easy Riders, Raging Bulls, author Peter Biskind mentions De Palma only in passing, as if it’s just assumed that he’s not as worthy of study as Steven Spielberg or Martin Scorsese.)...
Dumas isn’t just using the director, or his films, instrumentally to advance his own far-out theories. Instead, he’s situating them within contexts and critical conversations that seem entirely suitable. Dumas is giving De Palma his due. And in so doing, he’s arming the next generation of hardened De Palma defenders with some seriously heavy artillery. "
Read the entire review here: http://www.avclub.com.
You can find out more about Chris Dumas' excellent Un-American Psycho: Brian De Palma and the Political Invisible right here: http://www.intellectbooks.co.uk.
Punk & Post-Punk is pleased to announce a new Call for Papers.
The journal is currently building on the success of its first issue with the imminent publication of issues 1:2 and 1:3 – the latter an Eastern European-themed edition.
Looking forward to 2013, the editors invite submissions for our second volume.
We invite students of the punk and post-punk eras, as well as those from related disciplines into which punk’s influence has fed – including researchers, teachers and practitioners – to contribute to the on-going success of Punk & Post-Punk. We welcome papers exploring punk’s impact on the wider culture beyond music, including the arts, language, iconography, sociology and gender and race issues. We particularly encourage papers discussing regional and international differentiation and contribution. Similarly, each issue aims to feature at least one paper in which relevant visual imagery is to be a major component.
Articles should be between 4,000 and 6,000 words in length. Topics may include
(but are not limited to):
Etymology and Language
Genre Definition and Development
Antecedents and ‘proto-punk’ influences
Methodologies and theories appropriate for research and study in this field
Industrial structures and practices in relation to production
Gender, class and race issues
Comparative study between nations or regions, cultures and industries
Associated cultural industries including fanzines and fashion
Performance of Style
Concepts of Independence
Modernist and Post-Modernist influence
Global impact and Inclusion
Potential contributors should send a 200-word abstract to co-editor Dr Philip Kiszely at P.Kiszely@leeds.ac.uk. A prompt response will assess eligibility for inclusion and provide writer’s guidelines.
The deadline for submitting abstracts is Monday 1October 2012
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. Now in its second issue, the journal takes a wide perspective in the inquiry into what constitutes “the curatorial.” Curating has evolved considerably from the connoisseurship model of arranging objects to now encompass performative, virtual and interventionist strategies. While curating as a spatialized discourse of art objects remains important, the expanded cultural practice of curating not only produces exhibitions for audiences to view, but also plays a catalytic role in redefining aesthetic experience, framing cultural conditions in institutions and communities, and inquiring into constructions of knowledge and ideology.
In the second issue, readers will find a diverse selection of articles. Renowned cultural theorist Mieke Bal contributes a self-critical inquiry into the performative aspect of curating in ‘Curatorial Acts’. Art historian Reesa Greenberg examines the growing phenomenon of exhibitions that adopt a documentary approach in ‘Archival Remembering Exhibitions’. Lee Rodney’s ‘Exhibiting the Frontier’ considers how international borders have been recently re-conceptualized as museological displays. Other essays by Joanna Szupinska and Roberta Crisci-Richardson look at the watershed 1981 Polish exhibition Construction in Process and the curatorial practice of Edgar Degas in his personal home/museum, respectively. The journal also features an array of exhibition, website, book and conference reviews.
Issue 1.1 of the Journal of Curatorial Studies is currently available to download for free: http://bit.ly/Qifc7m from Intellect’s website.
Jim Drobnick and Jennifer Fisher – the Editors of JCS – have also just completed a special guest edited issue of the art journal PUBLIC. The issue, which focuses on civic spectacle, can be found online.
Journal of Curatorial Studies | 2012, Volume 1: 3 issues per volume
Current issue: 1.2 | ISSN 2045-5836, Online ISSN 2045-5844
Subscription information: http://bit.ly/yhFHhc | Subscription rates: Institutional: £132 / $185 | Online only: £99 / $140 | Personal: £36 / $68
Jim Drobnick, Ontario College of Art & Design (firstname.lastname@example.org)
Jennifer Fisher, York University (email@example.com)
Editorial Board: Alexander Alberro; Marcia Brennan; Tom Eccles; Andrea Giunta; Hou Hanru; Amelia Jones; Johanne Lamoureux; Nina Möntmann; Paul O'Neill; Helena Reckitt; Kitty Scott.
Advisory Board: Mieke Bal; Sarah Cook; Jennifer Gonzalez; Reesa Greenberg; Salah Hassan; Charlotte Klonk; Maria Lind; Andrew McClellan; Chantal Mouffe; Pooja Sood.
The history of cinema in the Philippines is as much about the history of film exhibition as it is about production. From the early Spanish influence, to the dominance of American films, through the various Golden Ages of Philippine cinema and the dark period of martial law, national cinema becomes a kind of allegory of the complex hybrid history and culture of this immense archipelago. The Directory of World Cinema: Philippines — a contribution to Intellect's series Directory of World Cinema — seeks to give a broad yet detailed account of this rich cinematic tradition, which remains largely unknown outside of the Philippines or by non-specialists.
One of the primary aims of this book is to draw attention to the Philippines regional cinematic history by exploring films produced in regions, languages and dialects issuing from among others Iloilo, Negros Occidental, Mindanao and of course Cebu, a once serious contender to Manila's cinematic hegemony.