Intellect's spring 2015 books catalogue is packed with diverse titles, with books on New York downtown film and TV culture, immigration cinema, drama education and photography. We also have some additions to established book series with Fan Phenomena: The Rocky Horry Picture Show and Jane Austen and World Film Locations: Washington D.C.
Intellect is enthusiastice about publishing in new and emerging areas. We encourage a fresh take on things, the multidisciplinary and the previously unexplored.
Please join us for the launch of
Allister Mactaggart, author of The Film Painting of David Lynch, is taking part in the ‘Lynch Conversations’ symposium at the Mima, Middlesborough Institute of Modern Art on 21st February 2015, as part of the Lynch Naming exhibition.
Opens Friday 20 March 2015
WOW Wales One World Film Festival celebrates the golden age of Iranian cinema, marks the 150th anniversary of the Welsh emigration to Patagonia and premiers eco-documentary Deep Listening (Dadirri) directed by Swansea filmmaker, Helen Iles.
Please note the distinct issues and deadlines, below.
What are the health benefits and risks of dramatic reality?
What are the goals of drama therapy and who establishes these?
How do drama therapists understand health, illness, ability and disability?
When, where and for whom is drama therapy indicated?
What are the dominant narratives that inform our practice, pedagogy, and approaches to research?
- How might imagination and dramatic improvisation increase well being or decrease specific kinds of distress?
- How does race, gender, ability, socioeconomic status and/or age influence research and practice?
- How might children and other vulnerable groups be more involved in research about their own experiences?
- What consideration should be given to aesthetics in drama therapy?
- What are the ethical implications of performing and witnessing private stories in public spaces?
practice and arts-based research
Who defines the purpose and goals of drama therapy?
What circumstances influence who has access to drama therapy?
Who benefits from drama therapy research and performance?
- Whose worldviews are under/represented in the field and how does this influence how drama therapists practice?
- When might the practice of drama therapy reinforce harmful marginalization or encourage social conformity?
- How might the practice of drama therapy contribute to reducing stigma or facilitate advocacy?
- When does the practice of drama therapy disrupt or unsettle dominant narratives related to class, race, ability, gender, age, religion, legal status, sexual orientation and other forms of difference?
- How is cultural competency incorporated in the training of drama therapists?
- How do dominant paradigms influence training and research cultures in drama therapy?
- What are some of the culturally situated notions of the body, affect and performance in the field?
- How are power relations communicated in aesthetic choices and approaches to audience engagement?
- How does therapeutic performance reveal, conceal and re/present difference?
- What don’t we talk about? Are there some themes or experiences that are unplayable or underrepresented? What are the ethics of attempting to do so within a drama therapy frame?