We are delighted to announce the launch of our e-journals platform!
Plus an exciting offer, available for a limited time only!
Cuteness has a global reach: it is an affective response; an aesthetic category; a performative act of self-expression; and an immensely popular form of consumption. This themed issue of the East Asian Journal of Popular Culture is intended to launch the new, interdisciplinary, transnational academic field of Cute Studies.
Cute culture, a nineteenth century development in Europe and the US, with an earlier expression in Edo-era Japan, has flourished in East Asia since the 1970s, and around the world from the turn of the new millenium. This special issue seeks papers that engage with a wide variety of both the forms that express cute culture, and the platforms upon which its articulation depends. Thus, the field of Cute Studies casts a wide net, analyzing noth only consumers of cute commodities, but also those seek to enact, represent, or reference cuteness through personal presentation or behaviour. Since these groups intermingle, cute culture may be seen as a type of fan community, in which the line between consumers and producers is continually renegotiated. Cute Studies also encompasses critical analyses of the creative works produced by practitioners such as artists, designers, and performers, as well as the circumstances that determine the production and dissemination of these works.
Defined as juvenile features that cause an affective reaction, somatic cuteness follows the Kindchenschema set down by Konrad Lorenz (1943), and supported by later research: namely, large head and small, round body; short extremities; big eyes; small nose and mouth. Whether genetic, or activated by learned signals, the cuteness response is also associated with a range of behavioural aspects, including: childlike, dependent, gentle, intimate, clumsy, and nonethreatening. Such physical and beavioural features trigger an attachment based on the desire to protect and take care of the cute object. This deterministic nature of the cute affective register is highly pertinent to humanities acholars in the way it is expressed through categories of difference such as gender, race, or class. Furthermore, the difference in status between the subject affected by cuteness, and the harmless cute object, denotes a power differential with important political and ideological implications. The appeal contained within cuteness seeks to establish a reciprical relationship of nurturing/being nurtured, and the subject who responds to this appeal faces very different ethical obligations depending on whether the cute object is a thing, an animal, or a human being.
Possible topics for papers include the following (Note: a specific focus on the geographical region of East Asia is not required for submissions):
- Cute Cultures of East Asia
- Cute Commodities and consumers of cute: Structure vs. Agency
- Cuteness and Gender
- The Science of Cute
- Cute Histories
- Practitioners of Cute
- Cuteness and Race
- Queering Cute
- Cuteness and Disability
- The Cuteness of Animals/Zoomorphic Cute
- The Dark Side of Cute (the grotesque, violence, pedophilia, etc.)
- Digital Cute (social media, memes, etc)
The deadline for submissions to this special issue of EAJPC is: 15 April, 2014
Please submit papers to CuteStudies@gmail.com
Joshua Paul Dale, Editor, Special Issue on Cute Studies, EAJPC
Note: To aid research, an annotated (and annotatable) bibliography may be found at http://cutestudies.tumblr.com
CALL FOR PROPOSALS: CURATING AND THE AFFECTIVE TURN
CALL FOR PROPOSALS: CURATING AND THE AFFECTIVE TURN
Edited by Jennifer Fisher and Helena Reckitt
The Journal of Curatorial Studies seeks original research articles for a special thematic issue on how the affective turn has influenced curating and exhibitions.
From immersive installations to phantasmagoric projections, intimate performance to site-based biennials and civic events, contemporary curating increasingly operates within the realms of affect. Curators configure atmospheres in a number of ways – to situate artworks, attract audiences and mediate social bonds. Curatorial labour also extends to mobilizing personal networks, where generating emotional climates produces forms of symbolic capital essential to underwriting curatorial production in often under-funded and precarious conditions.
Stemming from recent theorizations of the affective turn, this special issue will ask: What are the affective conditions of the curatorial? How is affect transmitted in exhibitions and curatorial projects? Beyond an exhibition’s representative and discursive significance, what are its affective registers? What energies feed the curatorial process? And, by extension, how does the tone of social networks pertain to the affective labour of curating?
Where museums, galleries, art world events, and artworks themselves function as contact zones where affect is transmitted, this special issue invites submissions that inquire into how curatorial affect shapes relations between feelings, intuitions, artworks, spaces, audiences, social networks, politics, ethics, and sensibilities. A range of contributions is sought, from exhibition case studies, curatorial memoires and auto-ethnographies, to speculations into the ethics of curatorial conduct governing the transmission of affect.
Potential Topics can include:
- Affect theory as a mode of analysis for curatorial and exhibition studies
- What feeling states govern the culture of current curatorial conditions (such as being affected, disaffected or unaffected)?
- How might relational forms (such as social conviviality, love of art, or mutually respectful agonistic struggle) be considered as affective registers? How might other affects pertain in recent curatorial practice?
- How do exhibitions configure affect as mood, atmosphere and intensity? How might such articulations produce new communities of feeling and sensibility?
- The politics of affect in relation to curatorial attitude, habits, self-formation and style subcultures
February 1, 2014, abstracts due (250 words)
September 1, 2014 manuscripts due (5-6000 words)
Publication in issue (4)3 Fall 2015
Please send submissions and correspondence to:
Associate Professor of Contemporary Art and Curatorial Studies
York University, Toronto
Senior Lecturer in Curating
Art Department, Goldsmiths, University of London
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the increasing relevance of curating and its impact on exhibitions, institutions, audiences, aesthetics and display culture. Inviting perspectives from visual studies, art history, museum studies, critical theory, cultural studies and other academic fields, the journal encompasses a diversity of disciplinary approaches on curating and exhibitions broadly defined. By catalyzing debate and serving as a venue for the emerging discipline of curatorial studies, this journal encourages the development of the theory, practice and history of curating, as well as the analysis of exhibitions and display culture in general.
While curating as a spatialized discourse of art objects remains important, in the current era organizing an exhibition involves increasingly complex critical practices and self-reflexive methodologies. The journal promotes a wide-ranging inquiry into what constitutes “the curatorial.” This expanded cultural function of curating generates not only exhibitions for audiences to view, but also queries the nature of aesthetic experience, the authority of institutions, the formation of ideology, and the construction of knowledge. Topics of study will include investigations of current and historical exhibitions, display formats in the art context and cultures at large, curators and their oeuvres, and the political and theoretical issues influencing the production of exhibitions. The target readership of the Journal of Curatorial Studies includes scholars in curatorial studies, art history and museum studies, along with gallery and museum professionals, independent curators and art critics, and cultural theorists interested in art and display. For more information about the Journal of Curatorial Studies, please visit:
We asked Marcelline Block, editor of some volumes of Intellect's World Film Locations and Fan Phenomena series, for her recommendations on how to promote your book.
How have you utilized the marketing material sent to you by Intellct for your books? Have you found the postcards a useful marketing tool?
Yes, the postcards sent by Intellect are some of the best marketing tools - I always have several on hand with me. That way, no matter where I am, if/when my books come up in conversations (as they often do), I can show/give the postcards out. The postcard works wonders as a supplementary mechanism for enhancing any discussion of the books - the postcard is what really piques people's interest in the book since it is visually striking and beautifully designed, yet contains essential information including a written synopsis of the book in a bite-sized, introductory format. The postcard always makes a memorable imression and drums up interest in the books, as its design and printing is of the highest most professional quality, it is eye-catching and makes a positive impression. People really enjoy reading and holding on to the book's postcard - I think of it as functioning as a promtional souvenir for the book.
In what ways have you promoted your book digitally yourself (either through email or social media sites) and how successful do you feel this has been?
I've promoted the books digitally through facebook (my own page and as admin of the World Film Locations and Fan Phenomena Facebook pages) as well as on Twitter and through my Amazon author page. I am currently overhauling my personal blog, but have posted about my books there and know it has gotten the word out.
This has been very successful, particularly the Facebook pages (my own and the ones I administrate), as those pages really feel like a 'community' and generate a lot of support from the book's 'fans' (in terms of 'likes' and 'shares' on Facebooks and 'retweets' and 'favourites' on Twitter).
It also helps keep the books fresh and vital - for example, whenever I come accross something relevant about the cinematic culture of a city of one of my World Film Locations volumes (Paris, Prague, Marseille, Las Vegas, Boston), I post it to the Facebook site and this serves to generate a conversation and flow of dialogue/discourse that ultimately relates to the subject matter of my book. This way, it keeps the book current - if there is an intersting/newsworthy development in the city relating to its film/visual culture (or any other current event - i.e. the Red Sox winning the world series), then it goes on Facebook/Twitter, to help keep the book in the minds of the subscribers/readers for the pages, to encourage people to think about the book and why it might be of interest to them now.
In what ways have you found attending conferences has helped to promote your books?
Very helpful. I have been able to promote the book through speaking about it with colleagues at conferences, Giving conference presentations based on the research in my books has generated discourse and dialogue about them. I am also greatly looking forward to participating in a roundtable of Fan Phenomena editors at the forthcoming PCA/ACA (Popular Culture Association/American Culture Association) conference in Chicago, which will definitely promote the books. I've also posted pictures on Facebook and Twitter of the books when they are displayed at conference book exhibits (including Paris and Marseille), and this has been generated a lot of support and interest as well.
Have you given any presentations or talks at conferences about your book? In what ways was this successful?
Yes - I have presented at 92Y TriBeCa about "Paris Onscreen", followed by a book signing of my volume World Film Locations: Paris. This was a very successful, interactive, multimedia presentation given to a full house at one of NYC's premier cultural centres and it generated much interest in the book (and the series as a whole).
Have you formed any relationships with organizations or institutions to help promote your book? Can your briefly outline how you did this?
The Czech Center in New York City has promoted World Film Locations: Prague on its website.
As a member of the Harvard Club of new York city, I was selected to participate in the first Harvard Book Festival (October 2013), which generated sales as well as interest in the books.
I was also invited to display copies of World Film Locations: Marseilles in New York City at an outdoor fair in summer 2013 on Upper East Side of Manhattan called "A Sunday in Marseilles," which was sponsored by the French consulate in celebration of Marseilles as 2013 European Capital of Culture. World Film Locations: Marseilles was also displayed at the American Library in Paris Book Award.
Most of these relationships are formed from my own personal experiences/affiliations as a harvard alum member of the HCNY and as a francophile living in New York City (and therefore I keep up the speed on French/francophone evens, particularly those related to film).
Do you have any other tips for promoting your book within your community?
I recently participated in a pre-holiday boutique on the Upper East Side of Manhattan (November 2013), and, as the only person there displaying/offering books or sale, it was a very unique experience and generated a great deal of positive interest in the books.
I would definitely recommend that other authors consider participating in this type of venue it all possible - i.e. a local fair/community based holiday boutique and really got the word out about the books (as in the case of an academic conference/book fair), it was still a great way to market the books to cater to and reach out to another dimension of audience/readership.
Jelena Novak's article 'Voices beyond corporeality: Towards the prosthetic body in opera', which appeared in the special issue 6.1 of Studies in Musical Theatre, guest edited by Millie Taylor has been awarded the Thurnau Prize for Music Theatre scholarship.
Intellect has signed a new agreement with EIFL for the Intellect Journals Collection.
The Intellect Journals Collection offers full back-issue access to 83 journals in its expanding portfolio focusing on the arts, culture, communication and media.
The agreement runs until 31 December 2016 and is open to members of EIFL-partner consortia in 22 countries:
Cambodia, Cameroon, Ethiopia, Ghana, Kenya, Kyrgyzstan, Laos, Lesotho, Malawi, Mali, Mongolia, Mozambique, Nepal, Palestine, Senegal, Sudan, Tajikistan, Tanzania, Uganda, Uzbekistan, Zambia, Zimbabwe
A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrović
by Vlastimir Sudar
A Portrait of the Artist as a Political Dissident is the first study on Aleksandar Saša Petrović (1929-1994) - one of Socialist Yugoslavia's greatest film directors. By far the most awarded on a national level, winning three Golden Arenas at the Yugoslav Pula Film Festival, as well as prizes at Cannes and Oscar nominations in 1967 and 1968, his film I Even Met Happy Gypsies (Skupljači perja, 1967) was seen by 200,000 people in Paris alone and was the first film ever to be made in the Romany language. Its popularity started the trend of the subsequently even more popular 'Gypsy films'. This study revisits Petrović's intriguing work - while closely surveying its context - and is a fresh contribution to a bourgeoning area of interest.
Pamela Church Gibson (Reader in Cultural and Historical Studies, University of the Arts London, and co-editor of The Oxford Guide to Film Studies)
Kieron Corless (Deputy editor of Sight & Sound magazine, British Film Institute)
Irena Bilic (Artistic Director of 'L'Europe; Autour de L'Europe' Film Festival, Paris, France)
Wine Reception to Follow!
14 November 18h
Masaryk Common Room 4th Floor, School of Slavonic and East European Studies 16 Taviton Street London WC1H 0BW
Paul Lambert writes article about TV courtroom broadcasting
Television courtroom broadcasting has now been permitted into the UK Court of Appeal on the basis that it will be education for the general public.
To read the full article please click here.
OCAD University November 28th 5:00-8:00 pm
Intellect would like to invite you to a book launch of Piercing Time at OCAD University on November 28th from 5:00-8:00 pm.
Piercing Time examines the role of photography in documenting urban change by juxtaposing contemporary ‘rephotographs’ taken by the author with images of nineteenth-century Paris taken by Charles Marville.
The launch will include an exhibit of the beautiful photographs of Paris featured in the book and there will be copies of Piercing Time for sale.
For those who cannot attend the launch the author's online store allows you to order, visit store.sramek.ca or click here to visit the book's page on Intellect's website.
The photographs are up in the Anniversary Gallery at 100 McCaul Street for the month of November.
If you wish to review the project blog you can go here: www.sramek.ca/marville