Intellect are delighted to announce the new issue of Empedocles: European Journal for the Philosophy of Communication 6.1. This general issue contains articles on a wide range of topics from open-source journalism and phenomenology of new media to the study of shame in criminal law. EJPC 6.1 also features two new sections 'Reflection' and 'Critical Readings', as well as book reviews.
To access the journal please click here: http://bit.ly/1IMXnuH
Intellect is delighted to announce the new issue of Journal of Contemporary Chinese Art 2.1 with a wide range of articles, interviews and reviews surrounding Chinese war photojournalists, Nushu references in the work of Ma Yanling and women painters in Taiwan.
To access the journal please click here http://bit.ly/1KtwwEe
Dance, Somatics and Spiritualities negotiates the influential, yet silent educational presence of spiritualities within the field of somatic movement dance education internationally. We asked Amanda some questions about the book and what inspired her to do the project.
Because my daughter (Tala) has Native American heritage, and because much of my own research is US-centric, I would be very interested to see in this journal have some research into the influences of Native American beliefs and values in Western Somatic Movement Dance Modalities. Equally, I would be fascinated to see articles dealing with postmodernism and post-structuralist enquiry into spirituality, dance and performance, as well as more emphasis on gender, sexuality and spirituality, and indeed dance and new technologies. In fact, the research realms appear limitless, and I am curious to see what avenues Volume 2 will follow. Of note, our forthcoming issue 2.1 is a special issue on Dance, Movement and Buddhism, guest edited by Harrison Blum, which will, no doubt, broaden our understanding and widen our appreciation of the integration and application of Buddhist principles/values in western dance/movement contexts. Notably, 2014 and 2015 have seen the arrival of three prominent books in the field of dance and spirituality – Dance, Somatics and Spiritualities: Contemporary Sacred Narratives (Williamson, A. et al., 2014); Dance, Consumerism and Spirituality (Walter, C. 2014); and Why we Dance: A Philosophy of Bodily Becoming (LaMothe, K. 2015). While different in methodical and theoretical orientation, all three books provide new perspectives (and indeed new research avenues) into spirituality and dance in our contemporary and wider historical milieu. They notably all share common ground with deep ecological concerns; and within this issue, I interview Carla Walter about her new book Dance, Consumerism and Spirituality. In view of lay spiritual dance practices existing and growing beyond the realms and strictures of the University, there is a growing movement in the world that appears to combine various ideas from indigenous cultures and tribal dance (however appropriated/misappropriated) with notions of embodiment today. For example, if you visit ‘Dance and spirituality meetups’ (http:// dance-and-spirituality.meetup.com/), you can view, to name just a few here, the following movement classes and modalities: Dance Soul, Freeform Dance, 5Rhythms®, Mindful Movement Meditation and Dance, Danceitation, Soul Motion(TM), Shiva Devi Ecstatic, One Spirit Ecstatic Dance, Transformational Dance, Drum Circles, DRUM ~ DANCE ~ CHILL, Sacred Dance for Women, DevaGnosis, Magical Heart Adventures, and Drumming/Dancing/Flow-Arts/ Chanting. Internet searches reveal many other spiritual movement forms (the list would be too long to publish), such as the following: Spiritual Dance and Sufi Meditation (http://philipodonohoe.com/); and Shamanic trance dance (http://www.shamanic-trance-dance.co.uk/). Tracing the intricacies of this revival on a broad scale is an enormous task; my hope is that we start to gather more information and documentation on these phenomena, through both interview material and/or documentary-style pieces, as well as traditional academic papers. As such, we are introducing interview and documentary style pieces in relation to these phenomena in Volume 2 of this journal.
Amanda Williamson has a website which covers both her book and journal projects http://www.dance-somatics-and-spiritualities.com/
Intellect is delighted to publish the special issue of Fashion, Style & Popular Culture 2.3.
This exciting new issues explores various fashion, style and popular culture works ranging from the trans-global subculture that is Lolita fashion to the fashion designer, Patrick Kelly. Find out more here http://bit.ly/1HKzMoD
Intellect caught up with the editors of DWC: China 2 and Russia 2 to see what their thoughts were on editing the books.
Gary Bettinson, Editor of DWC: China 2
Where do your own personal research and academic interests lie?
My main research specialism is Hong Kong cinema, and Asian cinema in general – so I feel like the DWC: China volumes are right in my wheelhouse. I also research Hollywood cinema, both as an entity in itself and in relation to the Chinese film industries. My overarching approach to these cinemas would be called, I guess, formalist. I’m primarily interested in the aesthetic dimension of the films I study, but always in relation to particular contexts and traditions (genre trends, authorial traits, industrial practices, and so on).
How do you think Chinese cinema has evolved over the years?
Each of the three Chinese cinemas explored in China vol. 2 – Mainland Chinese, Taiwanese, and Hong Kong – has developed in its own distinct way. But the rise of the PRC market means that Hong Kong and Taiwan have succumbed to Mainland China’s gravitational pull. So we’re beginning to see a greater level of co-operation among the three industries than before. Pan-Chinese coproduction has a long history, but it has intensified in recent years. Both volumes of the China Directory trace this historical development.
Was it any different editing this volume of the Directory from the first one?
This new volume has a slightly broader scope than the previous volume. It encompasses a wide variety of cinematic genres from the “three Chinas” and covers Chinese filmmaking from its inception to the present. It contains more than 20 critical essays and over 80 film analyses. So this volume is bigger than its predecessor in every sense. I had 38 authors contributing to China vol.2. The logistics of that can be demanding, but it’s also the collaborative aspect of these books that energizes me. That’s the real joy of it. And the virtue of having so many contributors is that the book harnesses a range of expertise and critical points of view.
What do you think makes this book stand out from other similar works in the field?
The book is very accessible to the general reader, but it’s also illuminating for devotees of Chinese cinema. It functions both as a primer of Chinese cinema and as a substantive addition to the research field. I do think that readers of all kinds will find the book thought-provoking. China vol. 2 examines canonical films such as Chungking Express and Lust, Caution, but it also introduces readers to less well-known yet equally significant titles. And it treats film stars seriously, placing them on a par with film directors – so, figures such as Bruce Lee and Maggie Cheung receive similar coverage as directors Zhang Yimou and Jia Zhangke. The caliber of authors, too, sets the book apart; the scholars included in this volume are among the world’s leading experts in the field of Chinese cinema studies.
Do you have any favourite Chinese films and directors?
If I had to choose, my favorite would probably be Fei Mu’s Spring in a Small Town. It was made in 1948 but it’s still so incredibly modern. It’s a very humanistic and personal film, my favorite kind. The New One-Armed Swordsman is wildly entertaining. For me, it marks the pinnacle of the wuxia (swordplay) genre. Infernal Affairs is a brilliant movie, and I’d say a great example of what Scorsese calls “smuggler’s cinema” – on the surface it’s a skillful genre movie, but it’s underpinned by something pretty subversive. I admire many Chinese directors – Hou Hsiao-hsien, Ann Hui, and Johnnie To among them – but Wong Kar-wai is particularly special. He always works at a very high level. In the Mood for Love is a fully conceived work, I think. In fact, you could make the case that Spring in a Small Town anticipates it in some ways.
What do you think the future holds for Chinese cinema?
I’m not much of a prophet, but I think we can expect an increase in PRC coproductions, both pan-Asian and Hollywood ones. It seems inevitable that China will soon become the world’s largest film market, and Hollywood is already courting Chinese studios. It wouldn’t surprise me, either, if the PRC finally produces the bona fide international blockbuster that it’s been chasing since the global success of Crouching Tiger, Hidden Dragon. Some critics fear Chinese movies becoming too “Mainlandized” – they think that traditional Hong Kong and Taiwanese aesthetics will fossilize. I’m more optimistic about that. I think there will always be filmmakers in Hong Kong and Taiwan who possess a kind of independent spirit, and they’ll stridently resist the aesthetic and ideological sensibilities of Mainland and Western cinemas.
Do you have any future research projects or plans?
There are a few irons in the fire. Lately I’ve been researching Hong Kong screenwriting practices, especially with regards to HK-PRC censorship regulations. The strategies that Hong Kong filmmakers use to outfox the Mainland censors are pretty ingenious!
Birgit Beumers, Editor of DWC: Russia 2
How would you describe the book in a few words?
Directory of World Cinema: Russia 2 provides a second layer of information on some well-known genres in Russian and Soviet cinema, such as the blockbuster, and some genres that one might not be commonly associated with Soviet/Russian film history, such as the horror.
How do you think Russian cinema has evolved over the years?
The history of pre-Revolutionary Russian, Soviet and Russian (i.e. post-Soviet) cinema is rather complex and a topic that cannot be answered in a few sentences.
Do you have any favourite Russian films and directors?
Yes, I do. But my "favourites" change also. And think it is irrelevant, ultimately, what I like and what not. What matters are the films and what they mean at different times and in different contexts. Often a "bad" film can make a wonderful case study. Therefore the Directory tries to include films that have been neglected, or forgotten, or not been widely released or written about.
Where does your own personal academic and research interests lie?
I specialise on Soviet and Russian culture, especially theater and cinema, and Central Asian cinema.
How do you think Russian cinema distinguishes itself from other international cinemas?
Again, this is a broad topic. Also, it depends on what period we are talking about. I think what matters is not whether a cinema is different or not (and indeed, from which "international" cinema/s), but whether it speaks a distinctive, original language.
We are delighted to announce a new special issue of Interactions: Studies in Communication & Culture 6.2, ‘Social Media and Citizen Engagement in Crises’. This issue is guest-edited by Lemi Baruh and investigates citizen's use of social media during and after emergencies. The articles are a selection of papers from an international workshop organized by The Contribution of Social Media in Crisis Management (COSMIC) Project in September 2014.
To access this issue click here.
Performing Ethos (PEET) aims to identify and explore key ethical issues facing theatre and performance today. Acknowledging that ethical issues are always contextually determined, we wish to explore the range of ethical concerns and responses that arise within different cultural contexts. Global in scope, PEET provides a unique forum for rigorous scholarship and serious reflection on the ethical dimensions of a wide range of performance practices, from the politically and aesthetically radical to the mainstream. Of equal interest are those practices which are ethically motivated, and those in which ethical concerns are less clearly to the fore.
Submissions might consider, but are not limited to:
Theoretical paradigms appropriate to ethics and theatre, and the relationship between them
Ethics of representation (authenticity, gender, sexuality, class, ethnicity, age, disability, culture, beliefs)
Ethics of witnessing, participation and spectatorship
Ethics in relation to inter- and intra-culturalism
Ethics of applied and interventionist theatre, including community theatre, theatre for development, theatre and education, theatre and health
Critical perspectives on ethically motivated performance
Performance, ethics and the law
Ethical practices in the creative industries (including training, authorship, employment, sustainability)
The journal normally considers articles of 5–7,000 words. Contributions to the ‘Reflections’ section (short meditations, provocations or case studies) of between 500–1000 words are also welcome, as are interviews with practitioners or agents whose work is potentially of interest to the journal’s readership.
Please send completed submissions to the Principal Editor, Carole-Anne Upton: C.firstname.lastname@example.org
All submissions must include full references and bibliography, and articles should also include an abstract of no more than 150 words. Please refer to Intellect’s style guide before submitting: http://www.intellectbooks.co.uk/MediaManager/File/Intellect%20style%20guide.pdf.