Special Issue: Indigenous Film and Media
International Journal of Media & Cultural Politics
The International Journal of Media and Cultural Politics (MCP) seeks papers for a themed issue on Indigenous Film and Media. Papers should address any aspect of Indigenous, Aboriginal, First Nations, Maori, Sami, etc. film, media, and popular cultures. MCP is committed to analyzing the politics of communication(s) and popular cultural processes. It addresses cultural politics in their local, international and global dimensions, recognizing equally the importance of issues defined by their specific cultural geography and those which run across cultures, nations, and nation-states. Consequently, this themed volume welcomes comparative research across media and/or Indigenous ethnicities and cultures. In particular, the volume highly encourages comparative papers between Indigenous and, say, Asian, Hispanic, Pacific Islander, and African film, media, and popular cultures.

Topics might address, but are not in any way limited to the following:
New Media
Video Games, Blogging, YouTube
Popular Literature
Comic books, Graphic novels, and Cartoons
Radio shows
Theater, Festivals, Spectacles, and Ceremonies
Visual art

MCP invites interested contributors to send (4,000-8,000 word) essays, short commentaries (2,500-3,000), and book reviews (1,000-2,500) on Indigenous film, new media, social media, and popular cultural politics to the Guest Editor at the following address: on or before May 30th 2014. Contributors should also include brief biographical notes of approximately 200 words. 

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Fan Phenomena Week
28th Apri - 2nd May

We are delighted to announce Intellect’s Fan Phenomena Week, which will be taking place 28th April – 2nd May.

We will be celebrating the release of the latest four in the Fan Phenomena series, Fan Phenomena: Supernatural, Audrey Hepburn, The Big Lebowski and The Hunger Games. The week will include interviews, competitions, videos, free articles and a live panel discussion on Twitter by the editors of the series on Thursday 2nd May.

Follow us on Twitter or like us on Facebook to keep up to date with all that is going on throughout the week. 

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Call For Papers: Journal of Arts & Communities
Double Special Edition in partnership with ArtWorks and the Paul Hamlyn Foundation
The Journal of Arts & Communities is dedicated to researchers and practitioners from around the world who wish to increase the understanding and development of the socially engaged arts.  
In partnership with ArtWorks & the Paul Hamlyn Foundation, a double Special Edition of the Journal of Arts & Communities is planned for publication in 2015.  There is a Guest Editorial Team for this Special Edition who will work in partnership with the Journal of Arts & Communities editorial team. This team includes Susanne Burns, Project Director, ArtWorks, Sean Gregory, Director of Creative Learning, Barbican London, Dr Abigail Gilmore, University of Manchester, Judith Hills, University of Sunderland and Chrissie Tiller University Of Goldsmiths who join Stephanie Knight, Principal Editor of the Journal of Arts & Communities and Greg Giesekam who is Associate Editor. Chrissie Tiller is also on the Editorial Board of the Journal of Arts & Communities.
ArtWorks is a distinct initiative of the Paul Hamlyn Foundation championing the value of the work of artists in participatory settings, by identifying and promoting the range of skills needed to inspire and engage people taking part.
The ArtWorks philosophy is simple: people involved in participatory art will be more deeply engaged – and for longer – if the actual experience of taking part is a quality, positive experience. Valuing and professionalising the skills needed by the artists involved is the first step to inspiring this experience.
Over a three year period, ArtWorks has been harnessing the best practice from the British Isles and piloting new practice to create career development opportunities so artists working in participatory settings have the support they need to become great facilitators, leaders and teachers.
Beyond this, ArtWorks is working to transform radically the way we treat participatory art in the British Isles. Artists, commissioners of participatory art, training providers and policy makers all have a fundamental role to play in helping make this happen.
ArtWorks has been working closely with Higher Education, recognising that this partnership can enrich the practice and increase and deepen our understanding of the work, and develop provision for artists' development and reflection. As a consequence of this partnership, a large body of research has emerged that supplements the work being undertaken by others in the field.
In support of these developments the Journal of Arts & Communities in partnership with ArtWorks announces this Call for Contributions to the double Special Edition.
The Journal of Arts & Communities encourages a wide range of contributions and contributors, including, but not limited to, the following: essays pursuing original lines of inquiry, raising challenging issues about the field, or documenting innovative work; interviews with practitioners or debates between practitioners and/or theorists; case studies of individual practices or projects, particularly those which have a broader significance in relation to ongoing concerns in the field and those which provide opportunities for project participants to reflect upon their participation; photo-essays or other forms of project documentation; accounts of innovative training practices or approaches to evaluation and critical reflection; reports on conferences or proposals to publish more extended proceedings. Beyond our normal book review section, we also welcome proposals to discuss particularly significant publications which might merit fuller discussion.
Details for Contributors
Although we are open to discussion on the length of specific contributions, prospective contributors might observe the following guidelines as to length:
  • Discursive articles tackling broader issues of theory or practice or introducing particularly significant practice: up to 6,000 words, although we may agree to extend this in exceptional circumstances to 10,000 words;
  • Interviews, debates and case studies: up to 4,000 words;
  • Photo-essays, or other forms of visual project documentation – up to eight pages of visual documentation;
  • Reports of conferences: up to 1,500 words; we may also agree some visual documentation, where appropriate.  Proposals for more extensive conference proceedings should be discussed prior to submission;
  • Book discussions, Notes and Queries: up to 750 words.
Contributors should follow the Harvard referencing system for citations and
include a list of works cited at the end of the article. Explanatory footnotes should be kept to a minimum.
Illustrations and images are welcome. Photographs can only be accepted as
production-ready, high resolution electronic images in JPEG, TIFF or PDF format.
Minimum resolution for images is 300 dpi. All illustrations and images should be accompanied by a caption and numbered. Images should be sent in the order in which they are expected to appear in the article. It is the contributors’ responsibility to obtain copyright permission, where necessary, to reproduce images.
Submissions should be sent via e-mail in Word format to the Principal Editor You are welcome to discuss proposed articles in advance of submission; in particular, we encourage practitioners who may wish to explore ways of documenting their practice to get in touch to discuss possible approaches. 
The deadline for submissions is Friday 12th September 2014.
All submissions will be sent to the panel of guest peer reviewers for assessment of their suitability for publication in these special editions. 
The views expressed in the Journal of Arts and Communities are those of the authors and do not necessarily reflect those of the Editors or the Editorial Board.
For further details on submission guidelines please consult the Intellect website:
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Masoud Yazdani: Founder and publisher of Intellect

It is with deepest sadness that we announce the passing of Masoud Yazdani, founder and publisher of Intellect. Masoud died on Tuesday 18 February, aged 58, following a year-long battle with cancer. Masoud is survived by his wife, Ayshe, and 3 children, Mina, Shirin and Omid.
Masoud had a life-long interest in publishing, but it was in 1984, following a brief but life-changing apprenticeship with Walter J Johnson, founder of Academic Press and Ablex Publishing, that he first launched himself into the world of academic publishing with the founding of Intellect and the academic journal Artificial Intelligence Review.
Masoud and I have been great friends for just about 30 years. We first met in the mid-1980s when we both worked for a small innovative business in Oxford working in the, then, new and exciting field of computing called Artificial Intelligence. We became immediate friends, and built a friendship that has lasted to this day, regularly nurtured by our mutual love of playing squash and eating out in Indian restaurants. I have particularly fond memories of those early days, the two of us spending many hours in his spare bedroom stuffing envelopes with journals, sticking stamps and posting them to the subscribers. From those small beginnings, Masoud's intelligence, creativity and energy, and his constant readiness to take risks, and his desire to be different, has transformed Intellect into the outstanding company we know today, providing an indispensable platform for publishing emerging and important original thinking in Film Studies, Performing Arts, Visual Arts, Cultural Studies, and Communication & Media.
But Masoud was not just a brilliant academic entrepreneur; he was also a great mentor and role model. Those who knew him will always tell you of his kindness and generosity. He was always willing to go to great lengths to help those in need, to provide support, to encourage, or to act as an advocate.
Masoud can never be replaced, but we at Intellect intend to keep his spirit and memory alive by building on his legacy, upholding his ethos so that Intellect continues to be a company he would be proud of.
Those of you who knew Masoud, either as a friend, colleague, or both, are invited to email, who will then post them into the comments section below. 

Mark Lewis
Managing Director


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Fashion, Style & Popular Culture 1.2

Intellect is delighted to announce that the editorial of Fashion, Style & Popular Culture 1.2 is now available for FREE

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The Itinerant Illustrator
Srishti School of Art, Design and Technology, Bangalore, India 18th and 19th December 2014

The 5th International Illustration Research event joins forces with the peer reviewed Journal of Illustration and is hosted by Srishti School of Art, Design and Technology in Bangalore. The symposium this year will focus on the praxis of illustration in an expanded field, including histories of local/regional illustrative practices and the traversing of diverse media platforms. 

Through talks, workshops, performances and exhibited works, we will consider the illustrator in terms of the ‘habitual travelling’ that he or she undertakes. The itinerant nature of the illustrator is evident in the praxis of illustration itself- the oscillation of thought between word and image, page and screen, hand and eye, dream and reality.
Occupying many roles and moving dynamically between them, the itinerant illustrator is an interpreter, a translator, an illuminator, as well as a storyteller, enquirer, performer and a pictorial juggler of ideas. The nomadic nature of the illustrator is to wander between disciplines, search for new contexts and to make images not on one, but several different platforms within an eternal evolution of technologies.
The multi-sited nature of illustration, along with illustrators’ journeys between several positions and places, also involves images that travel. We would like to investigate the fluidity of visual codes and languages, the translations, adaptations and hybrid practices that respond to the movement of cultures within the global village. How are images made and read within shifting regional and trans national contexts? How can we use illustration itself as a methodology to shed light on the praxis of illustration in these multiple contexts?
300 word proposals for 20 minute academic papers and practice based presentations are invited including (but not limited to) the following topics:

·       Illustration within local and hybrid cultures
·       Illustrated Narratives on transnational platforms
·       Image and space – murals, installations and other site-specific images
·       The illustration as palimpsest: reinterpretations of received bodies of knowledge.
·       The itinerant storyteller – the book, the scroll, the kaavad.
·       Illustration’s relationship to technology
·       Memory and place in illustration practice
·       Illustration as performance and dialogue 
·       Local/Regional approaches to illustration practice
·       Post colonialism and illustration
·       The illustrator as tourist within global image culture
Please email abstracts along with your name, affiliation and email address to 
Sandeep Chandra Ashwath,, DesdemonaMcCannon and Anna Bhushan
Selected papers and presentations will be considered for publication in forthcoming issues of the peer reviewed Journal of Illustration, published by Intellect books.

Deadline for abstracts: Friday 4th July


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Aesthetic Journalism Event
27th February, Dundee Contemporary Art

For the first time in Scotland Alfredo Cramerotti will present some key concepts of Aesthetic Journalism published by Intellect in 2009.

With the participation of artists, philosophers, anthropologist the format of this event will be based in a dialogic experience in response to Aesthetic Journalism
The event is free and open to the public. It will be recorded.


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Compass presents: The Caligari Experience
The cinematic circus is coming to town

13 March 2014 | Motion Bristol 

From a German twonship back in the early 1900s, a magical circus has travelled the crooked streets of time to present to you its curious wares...

Whispered about across the decades, re-imagines inside the madhouses of Europe, dreamed in the night-visions of sleepwalkers...

The Caligari Experience promises to be a dazzling, immersive event drawing on some of the most cutting edge practice in movement & aerial performance, digital art, and sound to be found in UK today.

Prepare yourself for a multi-screen extravaganza, with 3D Projection Mapping 

by Limbic Cinema & Live Film Score by Minima.

Visit the website for more information

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Open Letter to The Academy Of Motion Pictures Arts And Sciences
RE: Snub To Nelson Mandela Just Six Weeks After He Died

The editors of the Journal of African Cinema have asked for the following essay to be posted to the Intellect blog to stimulate discussion, the conversation will continue in the journal.
Danny Schechter, a.k.a., "The News Dissector" is an author, journalist, blogger, and filmmaker. He is completing a series of documentaries on the movie, Mandela Long Walk to Freedom. He directed six documentaries about Nelson Mandela, in the 90's, and has been reporting on South Africa since the mid l960's. He produced the internationally distributed (but banned here) TV Series, "South Africa Now" for 156 weeks out of New York from 1988-91. He has written 15 books. His latest is Madiba AtoZ: The Many Faces Of Nelson Mandela distributed in South Africa by Jacana Media. He blogs at and edits
From Danny Schechter
New York, New York: It was ironic to read that the theme of this year’s Oscar ceremony will be heroes---even as the Academy of Motion Picture Arts and Sciences just snubbed the movie about Nelson Mandela that South Africa’s first black President, and without question, a hero of the world, had given his rights to be turned into a major motion picture.
He wanted it made by South Africans, somehow not trusting foreign moviemakers.
I wonder why.
No one is questioning the Academy’s right to nominate and honor any movie but, given the world we live in, and its need for inspiration, we can question the judgment involved in passing over a critically acclaimed story of a successful fight for freedom while lesser themes seem to be considered more compelling: crime dramas that spoof, but don’t explain, the greed and criminality on Wall Street and government, a love affair between a man and his laptop, and a movie focusing on the ordeal of slave but not the system of slavery, among others.
For reasons that seem to reflect the commercial imperatives and callousness in American popular culture, we exploit the violence associated with victimization and subjugation but don’t admire the sacrifice connected with liberation. 
•Why does Hollywood prefer to milk guilt rather than promote solidarity? It is not “sour grapes” to ask questions like this.
Again, filmmakers must be free to deal with any and all issues but the public has a right to discuss the priorities, politics and values embedded in our “best” films even if the industry’s voters do not seem to be conscious that their choices make a statement about their outlook, by what they vote for and what they ignore.
•Was Mandela Long Walk To Freedom passed over because it was produced by an African? 
Movie critics in our best newspapers praised it for its integrity. It was debated, not panned. Mandela himself was saluted by all our media . Time Magazine, hardly a marginal outlet, issued a Special Commemorative Edition saluting a “Heros’s Journey.”
•Is it true that Hollywood can only handle one “black film” a year even as Mandela’s fight for a non-racial society galvanized international support with 91 heads of State, including our own, speaking at his funeral. It rejected racism.
•Was a story deemed heroic by virtually every nation in the world ignored because it is not about some American obsession in an age when Hollywood claims to represent a global industry?  
•Is it not entertaining enough?
•Was the lack of pricey big name American stars a liability?
•Was the Mandela movie bypassed because it had no big studio backing and, hence, no deep pockets to lobby for it?
It may be that the film’s ‘Oscar campaign’ assumed that Academy members saw the film and cared about the story.
Take two.
Maybe the movie’s boosters relied too much on hopes for black-American support not realizing how much the black community in our country has been devastated by the financial crisis and its epidemic of foreclosures, making it more difficult for many families of color to afford increasingly costly movie tickets as apartheid-like inequality deepens beyond Beverly Hills.
Perhaps they don’t realize that the decline of public education makes it less likely that students will even learn about Mandela in their classrooms, or that our news biz as show biz “journalists” who have mostly abandoned the world, will cover his story in any depth.
Many prefer to fawn on the rich and famous asking them how they feel to be in the spotlight. They rarely do the same with the poor and anonymous.
Once their “death watch” was over, the world moved on. In their words, they are “Mandela’d out.”
•What does Hollywood care about these days except more and more displays of attractive actresses parading around in expensive gowns trying to capture the glory of an earlier era?
Maybe it was the booze that was consumed by the gallon full at the Golden Globes sponsored by an institution of questionable integrity,
We know you love to wear tuxedos and love movies that make bug bucks so you can reward them with a gold statuette to help them make more. In the end, is that what its all about?
How naïve of me not to “get it.”
Nelson Mandela is not around to express his disappointment, but the people of South Africa who struggled with him cannot be happy with the indifference the Academy has shown for more trivial fare, whatever its artistic merits.
I am not saying Mandela Long Walk To Freedom should win—but it should have been given the chance to compete.
One dissent to my own argument: Reality has not been abandoned completely. Many of the documentaries up for consideration this year deal with serious subjects and under-covered issues. All the potential winners, however, are repeatedly warned to keep their remarks apolitical and brief.
“I want to thank….” Music sneaks in. Your 15 seconds of fame is done.
So much for freedom of speech!
In l990, when the real Mandela visited Los Angeles, he was given the key to the city and leaders in the Entertainment Industry flocked to greet him and express their admiration. That was then; been there, done that.
Twenty years later, after his death from a prison induced medical condition at age 95, the Academy has turned its back on him and his achievements while only offering up a booby prize—a nomination for U2’s memorable song about love that ends the movie, a song that earlier won the Golden Globe. See a pattern here?
Where is the love for Madiba? 
Where is the respect?
Where is the courage in LaLa land?
News Dissector Danny Schechter produced six documentaries on Nelson Mandela and created the South Africa Now TV series from 1989-91. His new book is Madiba AtoZ: The Many Faces of Nelson Mandela (Seven Stories
Comments to

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Call for Papers - Fan Phenomena: Rocky Horror Picture Show
Now accepting abstracts to be considered for a new book Fan Phenomena: The Rocky Horror Picture Show from Intellect Press. This title will be part of the latest series of Fan Phenomena books, which aim to explore and decode the fascination we have with what constitutes an iconic or cultish phenomenon and how a particular person, TV show or film infiltrates its way into the public consciousness.
The Rocky Horror Picture Show (Fan Phenomena) title will examine the film's fan culture, its essential role in creating the midnight movie, audience participation, and cult film cultures, as well as other areas of influence and social impact. Subjects are to be addressed in a thoughtful and accessible manner aimed at both fans and those interested in the cultural and social aspects of The Rocky Horror Picture Show.
Topics of particular interest include, but are not limited to:
  • the film's role in creating a culture of the midnight movie, audience participation, and the cult film circuit
  • influence of developing the pastiche tribute film (for its homage to B-Grade Sci Fi, Hammer horror, early 20th century musicals, pulp, comics, etc.)
  • queer theory
  • sexual liberation
  • glam rock aesthetics/drag style
  • hedonism
  • language and linguistics explorations pertaining to the creative use of dialogue and audience call and response during the film
  • diverse aspects of fan art, fan tributes, and fan culture
  • economics of fan culture, including creation of low budget cult classic and/or how a cult subject becomes a franchise (sequels, stage revivals, etc.)
Ten essays will be selected and published within the following broad section categories: Fashion, Fan Media, Language, Economics, Virtual, Influence, Philosophies, Character/Characterization.

Abstracts should be 300 words long. Please include a CV or resume with your abstract. Abstracts due March 3, 2014. Final chapters of 3,000-3,500 words will be due July 15, 2014. Please direct all questions and submissions to editor Marisa Hayes: 

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