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.
Intellect are delighted to announce the new issue of Design Ecologies 3.2: Plotting the Continuum, which explores a connection between computers, the environment and models of thinking in design. This issue presents articles by Lorenzo Magnani, Yorgos Loizos, James Trafford and Luke Pendrell as well as a series of project profiles from ENIAtype MASTER CLASS.
To access this issue click here.
Intellect caught up with the author of Creativity, Culture and Commerce to see what inspired her to write the book
How would you describe the book in a few words?
The book explores the production of contemporary children’s television in Australia and globally, and particularly the impact on producers’ creative practices of cultural values, media regulation, technological change and commercial considerations.
Where do your own personal and academic research interests lie?
I’m really interested in television, both as a viewer and researcher, particularly the ways in which television is produced and distributed in digital regimes, where multi-platform delivery, niche channels and self-scheduling are the new norms. Digital has created tremendous opportunities for both viewers and producers, with new players like Netflix investing in high quality drama such as Orange Is the New Black and House of Cards. But digital has also fragmented audiences and program budgets, which makes the production of local drama even more difficult to accomplish in a medium sized television market like Australia’s.
Where did you find the inspiration for your book?
Australia has, quite rightly, a global reputation for excellence in the production of kids TV, which began in the late 1960s, with Skippy. Children’s television is an industry in flux though, with a proliferation of dedicated children’s channels including heavyweights like Disney and Nickelodeon competing for the child audience. I was really interested in finding out how the producers of kids TV were adapting to the challenges and opportunities created by digital and multi-channelling and how their shows were being influenced by what are increasingly globalised media markets. My book demonstrates that while Australian children’s live action drama still has an outstanding international reputation, it is now one of TV’s most vulnerable genres.
What did you enjoy the most when writing this book?
I was very fortunate in that many leading producers were generous enough to speak to me at length about their work and, particularly, their creative practices. I really enjoyed hearing about what inspired and challenged them creatively and the many different facets of their work.
How do you think children’s television has evolved over the years and what do you think were the contributing factors towards it?
Children’s television, particularly live action drama, has always been about story telling and that has not changed. Children, like adults, enjoy watching high quality drama with compelling narratives, written and produced especially for them. Globalisation has, however, become a key feature of the digital era, meaning the internationalisation of both children’s television, and many of the companies involved in its production and distribution. Program makers have become dependent on international finance, which has meant their programs have to be made to attract a global audience. And many free to air broadcasters have been paying less for content. The overall result being that very often, animation is cheaper for broadcasters to commission than live action children’s drama. While children love animation and it is a terrific genre, live action drama has become extremely vulnerable in contemporary television production.
In what ways would you say that the Australian children’s television scene differs from other various international ones?
Australia has a well-established children’s television production scene, which benefits from Australia being a safe, sunny and naturally beautiful environment in which to film. Australian producers are passionate and highly accomplished storytellers while Australia is unusual in having content quotas for children’s television on its commercial networks. Funding subsidies and tax incentive schemes provide further support for locally made kids TV. Nonetheless as a medium size market, with a population of 22m, raising finance for the production of kids TV in Australia remains an on-going challenge.
Do you have any future research projects or plans?
I’m currently putting together a large, international project examining new and emerging production zones for children’s television.
To buy the book please click here
Film, Fashion & Consumption 3.2
Intellect are delighted to announce the new issue of Film, Fashion and Consumption 3.2. This issue contains articles by Hilary Radner and Nadia Buick, an interview with Alistair O’Neill on his ‘Guy Bourdin: Image Maker’ exhibition, and reviews. FFC 3.2 introduces the new ‘Short Cuts’ section with Tereza Kuldova's review of Hindi Cinema and takes a new direction into fashion and television with articles on Sherlock by Allan Johnson, and The Paradise and Mr Selfridge by Tony Grace and Gill Jamieson.
To access this issue click here.
Contributions are invited for a new issue of the peer-reviewed journal, Performing Islam
Investigating the problematics of religion in society in the context of contemporary Islam through the dynamics of different kinds of performances and art forms
Founder and Editor: Kamal Salhi (University of Leeds, UK)
Aims and scope
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 the editors, 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 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, events and performances.
Call for papers
The journal, which is rigorously peer-reviewed, invites submissions that pursue the methods and methodologies by which we attempt to approach original research in Islam in performance studies, and the study of the performativity inherent in the Islam related cultural production. Contributions which share research interests and experiences in interrelated areas of performative, homeland and diasporic negotiations, and the complexities of contemporary Islam are particularly welcomed. The journal is uniquely positioned to disseminate the groundbreaking work of genuinely international dimensions. Articles that encourage challenging debate on problem areas within this new field are also welcomed to the journal’s open forum, as are high quality articles usually published as peripheral items in journals from other disciplines. Proposals for special or themed issues will be considered.
Dr Kamal Salhi: email@example.com
Deadline for proposals is 31st July 2015
International Journal of Digital Television Issue 7.1, "Regulating Digital Television".
Publishing date March 2016.
Guest-Edited by Dr. Gali Einav
Principal Editor: Professor Petros Iosifidis
Deadline for Proposals: 30 June 2015
Deadline for Full Papers: 30 October 2015
The internet has drastically accelerated the rate of disruption facing the television industry. Younger viewers in particular have become platform-agnostic, consuming video over multiple devices, mainly TV, Laptop, Mobile and Tablet. At the same time, digital distribution networks like YouTube, Netflix, HBO Go and Amazon have overtaken legacy broadcast and cable networks in audience size. From modest beginnings, these digital players are now producing award-winning, professionally produced TV series and films, delivered "Over the Top" (OTT) directly to consumers via the internet, while bypassing traditional content provider infrastructure such as cable or satellite. The viewing experience is more personalized, cheaper and on-demand, meeting the expectations of the constantly connected consumer.
In this special issue, we set out to investigate to what extent digital television content and distribution can and should be regulated.
There is much dispute over the question if the internet should be regulated. There are many factors to take into consideration when examining this question in regards to the television industry. It is imperative to examine what can be the likely impact of regulatory change on traditional providers, content producers and distribution models. Allowing entry of new players can result in loss of viewers and revenues for incumbent providers and as such may jeopardize their ability to produce content adhering to acceptable standards. Algorithms used by OTT providers such as Netflix to track viewing preferences may result in exposure only to limited scope of content. The regulatory challenge is to encourage greater consumer choice without jeopardizing the existing economic model. The question is how can that goal be achieved; should the new OTT networks adhere to the same regulatory framework as their cable and satellite peers or should the playing field transform completely? Who should absorb production costs for original content, the "pipe" or content provider?
In this context, a regulatory regime that categorizes "television" as a single, monolithic industry, without distinction for distribution platform, has come under scrutiny. For example, reallocating existing broadband spectrum for digital distribution platforms can be depicted as either consumer friendly or anti-competitive, depending on the perspective of the industry advocate. In this high-stakes, zero-sum scenario, regulation has the potential to fundamentally alter the breadth, cost and modality of television. The difficult task is in understanding the unexpected consequences of regulation in order to increase the likelihood of achieving desired outcomes.
In line with this theme, indicative perspectives include, but are not limited to the following:
- Alternative models for regulating digital television
- Case studies from different national contexts
- Impact of emerging digital technologies on the future of the television industry
- Likely scenarios for the future of television consumption
- Optimal sequencing for effective implementation of regulatory reform
- Clarification of desired outcomes for regulatory reform
- Impact of regulatory changes on content production
The International Journal of Digital Television will describe and explain the transition to digital TV and wider trends in television. As switchover happens across the globe and television's operations and audiences are transformed, the International Journal of Digital Television will be at the forefront of efforts to understand the changes and developments. The Journal will bring together, and share, the work of academics, policy-makers and practitioners, offering lessons from one another's experience. Content will be broad and varied, evolving as the focus shifts from switching off analogue TV to the challenge of exploiting digital television's convergence with the Internet and telecommunications. National case studies and comparative studies will be a feature, accumulating the evidence for authoritative global analysis of the economic, political and cultural factors accounting for common principles and national differences.
Please send an abstract of up to 500 words or questions to the guest editor by June 30 2015: firstname.lastname@example.org . Invited authors will be notified by July 30 2015 and full articles of up to 8,000 words will be due on 30 October 2015. All submissions will be subjected to double blind peer-review.
More information about the journal and Notes for Contributors: http://www.intellectbooks.co.uk/journals/view-Journal,id=175
International Journal of Islamic Architecture is now listed on Archnet: http://archnet.org/collections/885.
Archnet is a globally-accessible, intellectual resource focused on architecture, urbanism, environmental and landscape design, visual culture, and conservation issues related to the Muslim world.