The Soundtrack is always looking for other forms of writing beyond research articles, such as interviews and book reviews. If you have an idea for material that you would like to contribute, please send your inquiry to The Soundtrack Editors; Estella Tincknell (Estella.Tincknell@uwe.ac.uk) or Michael Filimowicz (email@example.com). Book reviews should not generally be longer than 1500 words. Please include a short bio, and information about your planned writing submission.
Further detailed information regarding submissions is available from the Intellect website (http://www.intellectbooks.co.uk/journals/view-Journal,id=146/view,page=2/) under Notes for Contributors.
Intellect's spring 2015 books catalogue is packed with diverse titles, with books on New York downtown film and TV culture, immigration cinema, drama education and photography. We also have some additions to established book series with Fan Phenomena: The Rocky Horry Picture Show and Jane Austen and World Film Locations: Washington D.C.
Intellect is enthusiastice about publishing in new and emerging areas. We encourage a fresh take on things, the multidisciplinary and the previously unexplored.
Please join us for the launch of
Allister Mactaggart, author of The Film Painting of David Lynch, is taking part in the ‘Lynch Conversations’ symposium at the Mima, Middlesborough Institute of Modern Art on 21st February 2015, as part of the Lynch Naming exhibition.
Opens Friday 20 March 2015
WOW Wales One World Film Festival celebrates the golden age of Iranian cinema, marks the 150th anniversary of the Welsh emigration to Patagonia and premiers eco-documentary Deep Listening (Dadirri) directed by Swansea filmmaker, Helen Iles.
Please note the distinct issues and deadlines, below.
What are the health benefits and risks of dramatic reality?
What are the goals of drama therapy and who establishes these?
How do drama therapists understand health, illness, ability and disability?
When, where and for whom is drama therapy indicated?
What are the dominant narratives that inform our practice, pedagogy, and approaches to research?
- How might imagination and dramatic improvisation increase well being or decrease specific kinds of distress?
- How does race, gender, ability, socioeconomic status and/or age influence research and practice?
- How might children and other vulnerable groups be more involved in research about their own experiences?
- What consideration should be given to aesthetics in drama therapy?
- What are the ethical implications of performing and witnessing private stories in public spaces?
practice and arts-based research
Who defines the purpose and goals of drama therapy?
What circumstances influence who has access to drama therapy?
Who benefits from drama therapy research and performance?
- Whose worldviews are under/represented in the field and how does this influence how drama therapists practice?
- When might the practice of drama therapy reinforce harmful marginalization or encourage social conformity?
- How might the practice of drama therapy contribute to reducing stigma or facilitate advocacy?
- When does the practice of drama therapy disrupt or unsettle dominant narratives related to class, race, ability, gender, age, religion, legal status, sexual orientation and other forms of difference?
- How is cultural competency incorporated in the training of drama therapists?
- How do dominant paradigms influence training and research cultures in drama therapy?
- What are some of the culturally situated notions of the body, affect and performance in the field?
- How are power relations communicated in aesthetic choices and approaches to audience engagement?
- How does therapeutic performance reveal, conceal and re/present difference?
- What don’t we talk about? Are there some themes or experiences that are unplayable or underrepresented? What are the ethics of attempting to do so within a drama therapy frame?
Special issue on Technology and Performance in Popular Music Education
Guest editors: Gareth Dylan Smith and Bryan Powell
Topics of article proposals may include (but are not restricted to):
- Production studies: What can researchers’ contact with the cultural industries provide vis-à-vis audience studies or text studies? In which ways do routines, rituals or production rules interfere with the production processes? Which roles can be attributed to the choice of places and spaces of production? Which roles do local, regional or national organisations play in the planning processes, and which part is played by aesthetics/timing/economy in international cooperation? How does television production change according to the new challenges and opportunities presented by TV series in a ‘post-television’ era?
- Text studies and aesthetics: So-called quality drama characterised by high production values has been key to the recent interest in TV drama taken by TV researchers worldwide. But what exactly is quality drama? Is the concept of ‘production values’ valid in aesthetic analysis? Narrowing the perspective: What are the consequences of digital transformations and the new means of distribution? To what extent have the concepts of genre and narrative design changed alongside platforms and business models?
- Distribution studies: Analyses of the changing economic and technological conditions of distribution. In the face of digital distribution to smartphones, tablets, and computers, to which degree can we still speak of ‘television’? New business models have emerged or are emerging, such as subscription video-on-demand (SVOD), transaction video-on-demand (TVOD), and ad-supported video-on-remand (AVOD). When it comes to streaming, there are also distinctions to be made, e.g. download-to-rent or download-to-own. What are the consequences of these new modes of distribution?
- Audience studies: Reconsiderations of the aims and results of audience studies from a national/global perspective. Can dominant audience patterns be discerned vis-à-vis national TV drama productions, adaptations, and international remakes respectively? How are viewing patterns changed by factors such as second screening, streaming on demand, and the option of viewing wherever you are? What roles do fan cultures and online discussions play?
David di Donatello 1956–2016: 60 Years of Awards
In 2016, the Journal of Italian Cinema and Media Studies will celebrate the 60th anniversary of the David di Donatello prize with a themed issue. The purpose of this issue is to pay homage to this award for its cultural influence on Italian and world cinema, to review its history and endorse its international role. The Editor intends to publish a collection of articles that would document and historicize the value of the David di Donatello as the utmost expression of Italian and international film heritage and symbol of collective cinematic memory.
This CFP invites scholars, award ceremony organizers, archivists, film-makers, actors, journalists, producers and other professionals in the film industry to contribute with critical and historical articles, reports, interviews and biographies.