Friday 2nd November 2012
Cardiff University, UK
Centre for Interdisciplinary Film and Visual Culture Research
Friday 2nd November 2012
Dis-Placing the East/West Binary: Aesthetic and Cultural Crossover in Film and Visual Culture will be a one day international symposium at Cardiff University, hosted by the Centre for Interdisciplinary Film and Visual Culture Research (IFVCR).
Papers will explore contemporary displacements and transformations of the relations between East Asian and Euro-American film and visual culture, and will examine the complexity of ‘place’ in contemporary East/West film and visual culture.
The conference will take place on Friday 2nd November, from 10am to 7pm, in the School of Journalism, Media and Cultural Studies at Cardiff University, which is located close to the city centre, walking distance from Cardiff Central Rail Station and close to all city centre hotels.
Papers will be given by speakers from Brighton University, Cardiff University, Coventry University, SOAS, University of London, University of Auckland, New Zealand, University of Sydney, University of Southampton, University College, Dublin, York University, Toronto, and Zhejiang University, China.
1. Dr Jane Chi Hyun Park (University of Sydney),
author of Yellow Future: Oriental Style in Hollywood Cinema.
2. Professor Dana Arnold (University of Southampton),
author of many books and recent works on The East/West Dialogue in Architectural History.
Contact: Dr Paul Bowman: BowmanP@cf.ac.uk
We hope that you’ve been enjoying John Berra’s Beijing series to help celebrate the release of World Film Locations: Beijing, which John co-edited. Want to read more about films shot in China’s capital city? Intellect has given VCinema three copies of World Film Locations: Beijing to give away and you could be one of the lucky winners.
For your chance, answer the following trivia question selected by John Berra himself:
Who directed the Sixth Generation classic Beijing Bicycle (2001)?
Part II of John Berra's Beijing odyssey
'To coincide with the publication of World Film Locations: Beijing from Intellect Books, co-editor John Berra reviews six Beijing-set films to illustrate how China’s ever-changing capital city has inspired commercial and independent filmmakers alike, from the 1990s to today.
In the early-1990s, rock music became emblematic of China’s burgeoning sub-culture, with Beijing serving as the epicentre of the scene. Bands and solo artists imitated the fashion and lifestyle staples of their Western role models (clothing, hairstyles, drug use, attitude that fused studied nonchalance with rebellious swagger) as a means of taking a stand against the repressive political regime, or to simply achieve some measure of cultural notoriety. Performing was a political act, as most concerts took place without the required permit, and song lyrics were considered to be controversial due to their ambiguity. Today, rock music is a part of the mainstream, with the image of the movement integrated into the marketing formula of major labels and de-radicalised as a result of commercial concession. Success remains hard to come by for bands that remain steadfastly independent, with Beijing-based alternative rockers Carsick Cars, arguably the figureheads of the current underground scene, largely surviving by selling T-shirts at their gigs. Zhang Yuan’s second feature Beijing Bastards captures a time when such a band could not even scrape by on profits from their merchandise stall, as venues would be closed at a moment’s notice due to police intervention, or demolished almost overnight as part of the city’s extensive urban regeneration scheme. Zhang co-wrote the screenplay for Beijing Bastards with the rock star Cui Jian, who also co-produced the film in addition to playing himself, and shot without official permission on a budget provided in part by the Hub Bals Fund in Rotterdam.'
Read the complete article here: http://www.vcinemashow.com/?p=10142
DEADLINE: 18th November 2012
DEADLINE: 18th November 2012
The designer acts as a constructor of artificiality by designing cultural interface artefacts. By analysing the poster/artefact through its visual rhetoric, The Poster asks if it is possible to perceive and reveal the contours of its poesis construction. The identification of moments of formal rupture corresponds to a focus upon the relationship between authorial dynamics, technologies and programmes, and the constraints that these impose upon the designer's freedom. Thus, at any given moment, the resulting of visual rhetoric of the posters represents one possible manifestation of these complexities.
For this issue The Poster seeks contributions based in interpretation, culture and attention to social signals that characterize a time and a space, using design history as a tool to discover particularities of the poster at visual rhetoric level and from the following perspectives:
- How the poster concept of the poster evolved over time its role in setting the terms of the debate in the public sphere?
- How authorship assumes innovation, valorization, singularity, intention/desire and identity on the poster?
- How technology variation with its means of production and reproduction, its normalization and its rule affects the poster?
- How the technologies of production enforce a graphic ‘flavour’ that comes to define and how subversion of these means signal dissent?
- How the programme affects the poster is by the specifications of the features and special characteristics demanded by clients?
Papers – Papers should be provided as MS Word (.doc or .docx), Open Document Text (.odt) or Rich Text Format (.RTF) files with low-resolution images (72dpi) included in the text at the intended positions in the text: full print resolution images will be called for later. You can send us both colour and greyscale images. Please help us out by using the Heading 1 (H1, H2, H3) and Text Body styles in the first instance as this, and the indication of position of the images, helps us enormously in the editing and production of the final document. Papers should be between 5000 and 8000 words long. Once a paper is accepted we'll ask for the full resolution images.
Visual contributions – These contributions must make an explicable narrative point. They should be presented, in the first instance, as low-resolution .jpg or .png files (72 dpi), numbered in the order in which they should be read (if ambiguity is the intent please help us out by sending us a visual that explains their intended organisation). Please include (as either metadata or on an accompanying list) details of copyright, authorship and ownership.
Reviews should be between 1000 and 2000 word long and if they carry images or excerpts of the reviewed material should be copyright cleared with the author or the owners of the intellectual copyright.
Please send submissions for the special issue to Helena Barbosa at firstname.lastname@example.org
Issue 1.2 of Punk & Post-Punk will shortly be available, to whet the appectite, here is Alex Ogg and Philip Kiszely's insightful Editorial from the issue.
'Scholarly enquiry into punk, we’re delighted to report, is an ever-evolving and rapidly expanding enterprise. It is also one that – perhaps inevitably – has managed to fire the imagination of many beyond the confines of the acad-emy. Recently, for example, the Boston Globe newspaper ran a lengthy culture feature it saw fit to title ‘The rise of punkademia’. This piece, which featured a spotlight on this journal and comment from the editors, was subtitled, ‘How do you study a movement that doesn’t want to be studied?’ The answer to that question, as far as we can see, is simple enough: you study it anyway.'
To read the full Editorial please click on the 'Read on' icon below.
Intellect author John Berra, who is the Editor of World Film Locations: Beijing is writing a series of feature articles for the Asian cinema forum, VCinema. Th series is titled VCinema DIaries and begins with and exploration of John's recent vist to Beijing.
Here's an extract:
'The main reason for visiting Beijing was the publication of my latest editing project, World Film Locations: Beijing. A new addition to the World Film Locations series from Intellect Books, an examination of the enduring relationship between city and cinema, this volume was off the press just in time to coincide with Intellect’s presence at the 19th Beijing International Book Fair, and the publisher’s second annual meeting with the prestigious Beijing Film Academy. Held from August 29-September 2 at the new venue of the China International Exhibition Centre, accessible via subway on the way out to Beijing International Airport, the book fair is essentially a trade event that serves to illustrate China’s growing status in the global publishing market. With representatives from presses both popular and academic occupying the 21,000 available stands, it was the kind of fair that required anyone attending with a view to business development to have a clear agenda in order to avoid several days of accumulating random business cards and glossy hand-outs. From a more casual perspective, however, it was clear that publishing is thriving in China: while it is inevitable that not every international imprint will break into this market, either due to not having the right catalogue or struggling to connect with the necessary mainland partners, the potential financial rewards in reaching Chinese readers are too great to ignore. All areas of publishing seemed to be attracting interest from attendees, with a sizable crowd gathered for a panel discussion on Swedish crime fiction.'
Read the article in full: http://www.vcinemashow.com/?p=10119
Watch this space for future intalments...
Practitioners, researchers, educators and theorists in the disciplines of fine art, architecture, design, visual communication, technology, craft, animation, etc. are invited to contribute articles, projects and papers that deal with the interpretation of drawing across a diverse range of disciplines and contexts. Feedback, advice and support is sought for a prospective journal on Drawing with Intellect. The journal aims to promote and disseminate contemporary drawing research, theory and the current cultural and disciplinary diversity of drawing practice.
To get involved Please contact Adriana Ionascu: email@example.com (Ulster University School of Architecture and Design)
For the past five years John Bratzel has served as Executive Director for Popular Culture Association/American Culture Association. His leadership and organizational skills have enhanced PCA/ACA as a professional organization. Moreover, John helped forge strong links between the PCA and Intellect, links that have developed into a healthy relationship, which has created a plethora of of publishing opportunities for Intellect and PCA/ACA members.
Intellect would just like to wish John a pleasant and productive retirement, we hope that it will allow you to relax and enjoy many successful fishing trips!
Edited by Dr. Adam Bingham
Directory of World Cinema: India
Edited by Dr. Adam Bingham
The directory of world cinema aims to bring a new dimension to the academic study of film. The directory is intended to play a part in the distribution of academic output, by building a forum for the study of film from a disciplined theoretical base.
I am editing the Indian volume of Intellect’s directory of world cinema series, and am currently in the process of assigning contributions. The directory will be published in both print and online formats, with the edited print volume to be published in 2013 and updated biannually thereafter. More information can be found online at:
CALL FOR PAPERS
The first volume on India will consider the multitude of regional cinemas across the Indian sub-continent. The volume will consist of both critical essays (1,500-2,000 words) and individual film reviews (800-1,000 words). It is to be structured as a series of critical essays on the main regions, genres, actors, filmmakers and salient industrial features of Indian cinema, covering in broad outline the standout tenets of this largest of film producing countries. Each main section will be prefaced in the main by genre and director essays, and further subdivided into constituent film reviews of the key works associated with that particular subject area.
ISEA, Albuquerque 19-24 Sept.
This September the world of art, science and technology come together in Albuquerque, New Mexico for a six day, international conference. ISEA 2012 Albuquerque: Machine Wilderness, the 18th International Symposium on Electronic Art, will explore the discourse of global proportions on the subject of art, technology and nature. ISEA has become the premiere academic gathering for electronic art world-wide, bringing together the worlds of art and science. Come check out our latest offerings in the Techno Lounge, located in the Hotel Albuquerque: Potters Room.