CALL FOR PAPERS:
The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks.
The editors invite contributions from art historians and critics, film and media scholars, curators, and, not least, practitioners. We seek pieces that offer theories of the present moment but also writings that propose historical re-readings. We welcome essays that:
re-view canonical works and texts, or identify ruptures in the standard histories of artists’ film and video;
discuss the development of media arts, including the history of imaging technologies, as a strand within the history of art;
address issues of the ontology and medium-specificity of film, video and new media, or the entanglement of the moving image in a ‘post-medium condition’;
attempt to account for the rise of projected and screen-based images in contemporary art, and the social, technological, or political-economic effects of this proliferation;
investigate interconnections between moving images and still images; the role of sound; the televisual; and the interaction of the moving image with other elements including technology, human presence and the installation environment;
analyse para-cinematic or extra-cinematic works to discover what these tell us about cinematic properties such as temporal progression or spectatorial immersion or mimetic representation;
explore issues of subjectivity and spectatorship;
investigate the spread of moving images beyond the classical spaces of the cinema and
galleries, across multiple institutions, sites and delivery platforms;
consider the diverse uses of the moving image in art: from political activism to pure
sensory and aesthetic pleasure, from reportage to documentary testimony, from
performativity to social networking;
suggest new methods of theorizing and writing the moving image.
We welcome work that intersects with other academic disciplines and artistic practices. We encourage writing that is lucid without compromising intellectual rigour.
We publish the following types of writing: scholarly articles (5000–8000 words); opinion pieces, feature articles and interviews (3000 words); review essays of books, individual works, exhibitions and events (2000–3500 words). Scholarly articles will be blind peer-reviewed and feature articles and review essays can be peer-reviewed on request. All writings should propose a central idea or thesis argued through a discussion of the work under review.
Articles submitted to MIRAJ should be original and not under consideration by any other publication, including online publications. We do not publish articles by artists about their own work, nor reviews by curators or venues about their own exhibitions.
Issue 3.2, Scholarly Articles and Review Essays are unthemed and open to any submissions within the aims and scopes of MIRAJ. The Features section will include themed articles on 'Institutions' and welcomes submissions that address the broad resonances of this theme in artists' moving image, including but not limited to: the role of art schools and other educational establishments in the production, distribution, and exhibition of artists' moving image; case studies of particular institutions; the challenges film labs and co-operatives face in a digital era; the role of the academy; informal institutions; first-hand reflections on working in a particular institutional context; the relationship between experimental film and moving image practices in the gallery as modes of production.
Deadline for Issue 3.2: 18 April 2014
Issue 4:1 ‘Feminisms’. The current resurgence of feminist debate in western cultures has produced a spate of retrospectives charting the rise of feminist art by women in Europe and North America in the 1960s and ‘70s. While debates now incorporate multiple and global feminisms, the use of the moving image, as a mode of documentation, advocacy and activism, as well as an art form, remains central to women’s struggles to overcome the inequalities that the so-called post-feminist 1990s so successfully masked. We invite articles, feature articles or review articles on all aspects of women’s moving image theory and practice, both historical and contemporary, arising from the experiences of women across the globe.
Deadline for Issue 4.1: 17 October 2014
All submissions should be in English and adhere to the Intellect Style Guide (http://www.intellectbooks.co.uk/journals/page/index,name=journalstyleguide/)
Please submit completed manuscripts only. Send all contributions and proposals by e-mail in DOC or RTF format to the Editorial Assistant: firstname.lastname@example.org
Founding Editor: Catherine Elwes, CCW Graduate School, University of the Arts London. Associate Editors: Sean Cubitt, Goldsmiths, University of London; Eu Jin Chua, Unitec, New Zealand; Janine Marchessault, York University, Canada.
Reviews Editor: Colin Perry, CSM, University of the Arts London.
Features Editors: Erika Balsom, King’s College, London
Editorial Board: Rachel O. Moore, Goldsmiths, University of London
The International Advisory Board includes:
Mark Bartlett; Pryle Behrman; Suzanne Buchan; Ian Christie; Stuart Comer; Maeve Connolly; David Curtis; T.J. Demos; Thomas Elsaesser; Catherine Fowler; Stan Frankland; Amrit Gangar; David E. James; Laura Mulvey; Mark Nash; Michele Pierson; Lucy Reynolds; Pratap Rughani; Catherine Russell; Tom Sherman; Lisa Steele.
Roqoo Depot, a website for scifi/fantasy fans with an emphasis on Star Wars are running a competition to win a free copy of Fan Phenomena: Star Wars. To enter, all you have to do is send a picture of your Star Wars library, collection or action figures to the team at Roqoo Depot. Send the pictures to email@example.com by 29th August for a chance to win. For more information visit Roqoo Depot wbsite http://bit.ly/1da6iVK
You can listen to the podcast and find out how to win a copy of Fan Phenomena: Twin Peaks here: http://bit.ly/16KnniZ
CFP for special issue on the 60th Anniversary of RAI: 1954-2014
3) 200 word biographical notes followed by a detailed list of your academic publications.
Through your input we can best ensure all of our content is relevant to you. All comments and responses will be kept strictly confidential.
Responses received by August 30, 2013 will be entered into a draw to win a lifetime subscription to PUBLIC.
20% discount on all Directory of World Cinema and World Film Location titles
To celebrate Intellect’s release of their boxset of their Directories of World Cinema, the BFI Shop are offering the collection and all individual Directories at 20% off.
WFL: Starting in August, the BFI Shop will be offering £2 off all titles in Intellect’s World Film Locations series.
To coincide with Bastille Day 2013, Intellect Editor Tim Palmer is interviewed on the subject of French cinema by WHQR Public Radio (91.3 FM). Visit our Multimedia Zone by following the link to listen to this exciting topic discussed in detail: http://www.intellectbooks.co.uk.
Special issue of Journal of Fandom Studies
Guest Editors: Crystal S. Anderson and Doobo Shim
This special issue responds to the well-established and global subculture of fans of Korean popular music (K-pop) and Korean television drama (K-drama). K-pop and K-drama are the products of Hallyu, a cultural movement from Korea directed towards the global stage that originated in the late 1990s. Recent global successes of Korean artists such as Psy, Girls Generation, 2NE1 and BigBang as well as K-drama actors such as Lee Min Ho and Jang Geun Suk represent only a portion of the vibrant and diverse fandom. This special issue seeks to examine the uniqueness of K-pop and K-drama fandoms and their contribution to global fandom scholarship.
K-pop and K-drama represent hybridized modes of cultural production aimed at global audiences that emerged from Korea in the 1990s. Initially, K-pop fandoms were centered in Korea and locales in East Asia. As a result of technological advances in digital music and social media such as Twitter and YouTube, the fandom has grown to more international locations. Similarly, K-drama saw popularity in Korea and East Asia, and increased international access through online streaming sites and satellite options contributed to the rise of more global K-drama fandoms, with some variants. Unlike the US television drama production, K-drama fans participate in the creation of the show through feedback to the drama series up to the point that the writers have to change their story lines. This is a very unique ‘strength’ of K-drama in that this practice allows continuous communication between producers and audiences.
Overwhelmingly female, the fandoms for both K-drama and K-pop are poised to provide gendered renditions of cultural production and consumption. The possible polysemy embedded in Hallyu cultural products may produce a dynamically interesting consumption according to a different specificity and locality.
The spread of K-pop and K-drama fandoms has spurred scholarship on the subject. While K-pop and its fandom represent one of the most visible aspects of Hallyu, they receive the least critical attention from academia. Two groundbreaking collections, East Asian Popular Culture: Analyzing the Korean Wave (2008), and Hallyu: Influence of Korean Popular Culture in Asia and Beyond (2011) do not feature any submissions on K-pop. Studies of K-drama fandom are more plentiful, but tend to focus on the attitudes of fans in East Asia. Moreover, the theoretical approaches to the fandoms tend to revolve around notions of hybridity and globalization that de-emphasize the multiple cultures in play. For example, the coverage of fans in Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols (2010) is largely limited to the cases in Southeast Asia.
In response to this void, this special issue solicits innovative examinations of all aspects of K-pop and K-drama fandoms. Papers on the topic could relate to specific ideas given below but are not restricted to:
• New critical and theoretical approaches to the study of K-pop and K-drama fandoms or reimagined critical interventions associated with theories of hybridity, cultural proximity and globalization
• Comparative approaches to the global spread of K-pop and K-drama fandoms, especially comparisons between fandoms based in East Asia and other parts of the world, such as the Middle East, Europe, Latin America and the United States
• Interplay between fans and artists/actors
• Fan activities and cultural production, including fan art, blogs, mashup videos, cover dance groups
• Fan discourse and commentary, such as comments on social media and forums
• Economic impact of fan activity, including impact on sales of music and merchandise as well as advertising revenue
• Fan philanthropy
• Fan backlash, including the formation of anti-fan clubs, anti-fan movements, negative/erroneous portrayal of fans
• Analysis of the demographic of K-pop and K-drama fandom, particularly with attention to age, nationality and race/ethnicity
• In-depth examination of specific fandoms as well as fandoms in specific countries
Details of the publication are on the Intellect website: http://www.intellectbooks.co.uk/journals/view-Journal,id=213/view,page=0/
Deadline for submission of Abstracts: 31 October 2013.
Please submit an Abstract (200 words) and keywords (6-8) and profile of author/s (50 words)
Deadline for submission of Full Papers: 15 January 2014.
Please submit a full paper (6,000-9,000 words, including references and tables).
Please send Abstracts and Full Papers to: Dr. Crystal S. Anderson (firstname.lastname@example.org).
For any further queries, please write to:
Dr. Crystal S. Anderson (email@example.com), Associate Professor, Dept of English, Elon University
Dr. Doobo Shim (:firstname.lastname@example.org), Professor, Dept of Media & Communication, Sungshin Women’s University
This one day event will be a celebration of Potter’s life and works set against a background of 1950’s Forest nostalgia and music. Visitors to the Centre will be able to enjoy a range of activities ranging from Potter related talks and presentations by internationally renowned directors and academics; music from the Marjorie Belles musical trio and local Forest brass group, the Berry Hill Band; jazz jive swing demonstrations and sample classes; a dedicated 1950’s Forest exhibition and exclusive art exhibition by Potter’s daughter Jane Chowns. Also onsite will be classic cars; a restored Harrington 1950’s bus (with associated talk) and a vintage ice cream van to keep visitors cool during their visit.
The literary activities have been organised in partnership with the University of Gloucestershire, and guest speakers on the day will include academic, Professor John Cook; Television producer and film director, Kenith Trodd; Senior lecturer in television studies at Aberystwyth University, Dr Glen Creeber; lecturer and specialist on British television drama, Dr David Rollinson as well as local scholars and staff from the University of Gloucester.
All talks and activities are included in the standard admission fee to the Centre but visitors are recommended to book talks in advance to avoid disappointment.
Please contact: Harri@deanheritagecentre.com for ticket information. For more details and a full schedule please visit: deanheritagecentre.com/events/dennispottercelebrationevent.html