Intellect are delighted to announce the new issue of Empedocles: European Journal for the Philosophy of Communication 6.1. This general issue contains articles on a wide range of topics from open-source journalism and phenomenology of new media to the study of shame in criminal law. EJPC 6.1 also features two new sections 'Reflection' and 'Critical Readings', as well as book reviews.
To access the journal please click here: http://bit.ly/1IMXnuH
Intellect is delighted to announce the new issue of Journal of Contemporary Chinese Art 2.1 with a wide range of articles, interviews and reviews surrounding Chinese war photojournalists, Nushu references in the work of Ma Yanling and women painters in Taiwan.
To access the journal please click here http://bit.ly/1KtwwEe
Dance, Somatics and Spiritualities negotiates the influential, yet silent educational presence of spiritualities within the field of somatic movement dance education internationally. We asked Amanda some questions about the book and what inspired her to do the project.
Because my daughter (Tala) has Native American heritage, and because much of my own research is US-centric, I would be very interested to see in this journal have some research into the influences of Native American beliefs and values in Western Somatic Movement Dance Modalities. Equally, I would be fascinated to see articles dealing with postmodernism and post-structuralist enquiry into spirituality, dance and performance, as well as more emphasis on gender, sexuality and spirituality, and indeed dance and new technologies. In fact, the research realms appear limitless, and I am curious to see what avenues Volume 2 will follow. Of note, our forthcoming issue 2.1 is a special issue on Dance, Movement and Buddhism, guest edited by Harrison Blum, which will, no doubt, broaden our understanding and widen our appreciation of the integration and application of Buddhist principles/values in western dance/movement contexts. Notably, 2014 and 2015 have seen the arrival of three prominent books in the field of dance and spirituality – Dance, Somatics and Spiritualities: Contemporary Sacred Narratives (Williamson, A. et al., 2014); Dance, Consumerism and Spirituality (Walter, C. 2014); and Why we Dance: A Philosophy of Bodily Becoming (LaMothe, K. 2015). While different in methodical and theoretical orientation, all three books provide new perspectives (and indeed new research avenues) into spirituality and dance in our contemporary and wider historical milieu. They notably all share common ground with deep ecological concerns; and within this issue, I interview Carla Walter about her new book Dance, Consumerism and Spirituality. In view of lay spiritual dance practices existing and growing beyond the realms and strictures of the University, there is a growing movement in the world that appears to combine various ideas from indigenous cultures and tribal dance (however appropriated/misappropriated) with notions of embodiment today. For example, if you visit ‘Dance and spirituality meetups’ (http:// dance-and-spirituality.meetup.com/), you can view, to name just a few here, the following movement classes and modalities: Dance Soul, Freeform Dance, 5Rhythms®, Mindful Movement Meditation and Dance, Danceitation, Soul Motion(TM), Shiva Devi Ecstatic, One Spirit Ecstatic Dance, Transformational Dance, Drum Circles, DRUM ~ DANCE ~ CHILL, Sacred Dance for Women, DevaGnosis, Magical Heart Adventures, and Drumming/Dancing/Flow-Arts/ Chanting. Internet searches reveal many other spiritual movement forms (the list would be too long to publish), such as the following: Spiritual Dance and Sufi Meditation (http://philipodonohoe.com/); and Shamanic trance dance (http://www.shamanic-trance-dance.co.uk/). Tracing the intricacies of this revival on a broad scale is an enormous task; my hope is that we start to gather more information and documentation on these phenomena, through both interview material and/or documentary-style pieces, as well as traditional academic papers. As such, we are introducing interview and documentary style pieces in relation to these phenomena in Volume 2 of this journal.
Amanda Williamson has a website which covers both her book and journal projects http://www.dance-somatics-and-spiritualities.com/
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.