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China Image Film Festival in London
Sponsored by Intellect
Intellect is proud to be one of the sponsors of the 6th China Image Film Festival in London. The publisher’s representative will be meeting the audience, filmmakers, actors, actresses, film critics and academics at the opening ceremony on the 18th November. 
 
The 6th Europe China Image Film Festival will be launched in London from November 18th to 25th, 2014. Founded in 2009, ECIFF is the largest and most highly attended Chinese film festival in Europe. With the target of “China Image, Move the World”, ECIFF has been committed to serving as a platform between Chinese films and European audiences. Also, as an important bridge that connects Chinese films and the international film industry, this year ECIFF continues to perform as a platform for the cooperation, coproduction and joint venture between Chinese and European film industries.
 
This year, Europe China Image Film Festival comes back with four highlights:
 
Highlight 1: A Charity Blockbuster as the Opening Film
 
One Day, the 3-million-budget (RMB) film, is selected as the opening film. Starred by the A-list Chinese stars such as Zhou Xun, Siqin Gaowa, Xu Fan and Han Geng, this non-profit film is composed of nine stories of the different life of children. Connected loosely with each other, all of these nine storylines have focused on one theme: the power of love in Children’s growth.
 
Highlight 2: Two Film Industry Forums
 
Two forums on the film industry will be held on the 19th and 20th November: Eu-China Co-Production Forum & Co-Production Project Pitch, Youth Film Forum. European investors show interest in the Chinese market after the Chinese co-production policy with UK/EU has gradually relaxed; the Chinese film industry would benefit through cooperation projects with the advanced technology, talents, and production procedure from the European film industry, in order to raise the quality and diversity in film-making, as well as to expand the promotional and distribution channels. Besides, the Youth Film Forum focuses on three parts: China-UK film & TV talent development and training; China-UK film & TV exchange project for young talents; and China-UK young generation film-makers – experience sharing and co-operation opportunities.
 
Highlight 3A Star-Studded Award Ceremony
 
In the Award Ceremony, many Chinese film stars will come to London and attend the ceremony. Chen Sicheng and Tong Liya, the star couple comes with their new film Beijing Love Story. Directed by Chen, the film depicts a number of couples from different generations who are facing challenges between dreams and reality in Beijing.
 
Highlight 4: Multi-themed films in the Film Exhibition Week
 
This year, around 30 films will be screened in Odeon cinema (panton street), including documentaries, animation, shorts, minority films, artistic films, and moreover, non-Chinese films.
 
For more information about the festival, please visit the festival official website:

http://china-image.org 

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Launch of PUBLIC's 50th Issues
Wednesday, November 26, 2014
7 – 8:30 pm
Jackman Hall, Art Gallery of Ontario
Members $12 | Public $15 | Students $10
 
Franco “Bifo” Berardi: The Retreat
Join us for a talk by Franco Berardi to celebrate and launch PUBLIC's 50th issue: The Retreat: Dark Zest Geist Dystopia and Self Fulfilling Prophecy: Imagination and the Narration of the Future in Contemporary Literature and Cinema.
 
For further info and to buy tickets follow this link: http://www.ago.net/bifo
 

PUBLIC: http://www.intellectbooks.co.uk/journals/view-Journal,id=217/ 

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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, sandeep@srishti.ac.in, Desdemona McCannon d.mccannon@mmu.ac.uk and Anna Bhushan abhushan@cardiffmet.ac.uk
 
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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Nick Smedley: The Roots of Modern Hollywood
Presentation with visuals followed by Q&A

Thursday 13 November 2014
2.30pm - 3.30pm  (no interval)
Leconfield Hall  Petworth  GU28 0AH

45 minute presentation with visuals followed by an opportunity for questions and answers. Nick Smedley will then be available to sign copies of his book.
 
Film expert Nick Smedley, talks about his latest book which looks at developments in Hollywood cinema since 1970.
 
The book examines around 100 films which illustrate Smedley’s contention that American filmmakers persist in examining what constitutes American liberalism in an otherwise feverishly capitalist and individualist culture.
His fascinating investigation – which contains exclusive interviews with such giants of Hollywood cinema as Michael Mann and Peter Weir, as well as emerging talents Paul Haggis and Tony Gilroy – also highlights Hollywood’s long tradition of opposition to global conflicts (with the exception of World War II), and demonstrates how Hollywood’s deeply ingrained hostility to feminism has slowly crumbled since the 1990s.
 
NICK SMEDLEY is a distinguished historian of American cinema, and one who pioneered the use of archival materials and research in the study of Hollywood. Alongside articles and booklets on American and British cinema, Nick has published A Divided World: Hollywood Cinema and Emigre Directors in the Era of Roosevelt and Hitler, 1933-1948 (Intellect, 2011), an account of American fi lms in the Golden Age, focusing on Fritz Lang, Billy Wilder and Ernst Lubitsch. Nick frequently lectures on cinema at fi lm societies around the country, including the Petworth Film House, the Athenaeum Club in London, and the British Film Institute.     http://www.nicksmedley.com/?author=1
 
In association with Petworth Film House
Reserved Seating
Adult £10
18 and under £4
 

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Painting and Cinema: Panel discussion

10 Dec 20148:00 pm | Cinema 1 | ICA

Book tickets

Coinciding with the launch of the new Journal of Contemporary Painting, a peer reviewed academic journal published by Intellect, this panel discussion will address the complex relationship between painting and cinema.
 
In 1971 Stanley Cavell published The World Viewed, a text that explores the mechanisms of the frame and the screen and the role they play in the formation of the viewer’s relationship with the ‘world’ of a painting. The panel discussion will offer both direct and indirect responses to his ideas, with invited speakers showing short extracts from films of their choice and discussing the influence of Cinema on their painting practices.
 
The Journal of Contemporary Painting is edited by Rebecca Fortnum, Beth Harland, Michael Finch and Daniel Sturgis and published by Intellect.
 
Panel: Lydia Dona, Kaye Donachie, Dan Hays and Mario Rossi
Chair: Professor Beth Harland
 
Lydia Dona is an American artist, born in Romania, who lives and works in New York City. She has shown extensively nationally and internationally in various galleries and museums. Her work is included in the Phaidon publication of Painting Today, by Tony Godfrey.
 
Kaye Donachie lives and works in London. She holds a MA from Royal College of Art (1997). Recent solo and group exhibitions include: Maureen Paley (2013) Portraits of Solitude, Hernan Bas & Kaye Donachie De la Cruz Collection Project Space, Miami, Florida (2014).
 
Dan Hays completed a PhD at Kingston University in 2012, which included the exhibition Screen as Landscape at the Stanley Picker Gallery. Exploring the relationship between the intangible, encoded realm of the digital screen and the palpable, time-consuming nature of painting has been the main focus of his work since 1999.
 
Mario Rossi is a Senior Lecturer in Fine Art in Central St Martins, University of the Arts London. His concerns are with the enduring potential of the painted image, the interchanges between cinema and painting and exploring and disrupting hegemonic structures of representation.
 
Beth Harland is an artist and Professor of Fine Art at Lancaster University. She is principal investigator of a research project in collaboration with the Centre for Visual Cognition at the University of Southampton, looking at theories of absorption and viewer acknowledgment.
 
Event funded by the Art & Design Research Institute (ADRI), Middlesex University amd Intellect.
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Launch event for Moving Image Review & Art Journal
Andrea Luka Zimmerman: Screening and in conversation with Lucy Reynolds

Wednesday 19 November 2014

5.30 to 7pm

Lecture Theatre, University of the Arts London, 16 John Islip St, Chelsea College of Arts, SW1p 4JU

Andrea Luka Zimmerman will screen extracts from her recent films, including the forthcoming feature essay film Estate, a Reverie which premieres at Hackney's Rio Cinema on 22 November 2014. Filmed over seven years, Estate seeks to reveal and celebrate the resilience of residents who are profoundly overlooked by media representations and wider social responses. Interweaving intimate portraits with the residents' own historical re-enactments and dramatised scenes, Estate, a Reverie asks how we might resist being framed exclusively  through class, gender, ability or disability, and through geography.

The event will be followed by a drinks reception to celebrate the launch of MIRAJ 2.2 and 3.1

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Call for papers: Studies in South Asian Film and Media, Special Issue on Science Fiction in South Asian Film, Media, Arts and Literature.

Although science fiction has been a popular literary genre in several South Asian languages it has received very little critical attention. The absence is even more acute in the areas of cinema, theatre, radio, television, the visual arts, and new media. This lack of scholarship leads to the misassumption that science fiction has been of little consequence to the South Asian literary, cinematic and artistic imaginations. However, this has hardly been the case, as one realizes from the popularity of vernacular science fiction over at least two centuries of literary history. In more recent times,cinema, painting, installation art, graphic novels, plays, as well as radio and television series have drawn upon science fiction to generate new inquiries into time, space, history and memory,raising ontological questions about technology’s interface with the contemporary world.
 
This issue is an attempt to recover and assess the histories and imaginaries of science fiction in South Asia across a diverse range of mediatized, artistic and literary forms. It marks a small step towards calibrating the region’s scientific and technological imagination outside of a developmental paradigm. We seek to solicit contributions from scholars, filmmakers, artists, writers, as well as sic-fi enthusiasts offering historical and critical perspectives on significant texts,individuals, institutions, and themes that have shaped the cultural and artistic expression of science fiction across South Asia.
 
Dates and Submissions policy
 
Please write torashmi.sawhney@gmail.com or aartiwani@gmail.comto discuss your ideas. Abstracts of 500 words along with an author bio should be emailed to us by the 15th November 2014.
 
In addition to critical essays of 6000-8000 words, we also welcome shorter creative pieces of 2000-4000 words, in the form of interviews, photo essays (B/W), speculative pieces, translations of short stories, and artists’ reflections on science-fiction influenced work.
 
The deadline for the first draft is 30th January 2015. All contributions will be peer-reviewed and the final submission will be due by 30thMarch. The issue will be published by June 2015.
 
All copyrights are to be cleared by the authors. Guidelines to the Intellect house-style are available at http://www.intellectbooks.co.uk/MediaManager/File/style%20guide(journals)-1.pdf.

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Call for Papers: Journal of Contemporary Chinese Art
Special Edition: Contemporary Art and Political Ecology in East Asia

Guest-Editors: Bo Zheng (Assistant Professor, School of Creative Media, City University of Hong Kong, bozheng@cityu.edu.hk) and Sohl Lee (Assistant Professor, Department of Art, Stony Brook University, Sohl.Lee@stonybrook.edu) 

Ecology is at the heart of contemporary politics. The Fukushima nuclear disaster, the smog in Beijing, and the “pristine” DMZ in the Korean peninsula force us to confront the ecological consequences of a globalized neoliberal system. Contemporary artists in East Asia have since longendeavored to raise environmental consciousness, stage ecological interventions, and experiment with new ways of life in nature. The purpose of this special issue is to document their work and develop theoretical insights that deepen our understanding of the relationship between art and political ecology.
 
Recently a set of new theoretical ideas—Thing Theory (Bill Brown), New Materialism (Jane Bennett), Posthumanism (Francis Fukuyama) and so on—have gained much traction in Europe and North America. They challenge the basic premise of complete human agency, which has been the philosophical foundation of the Anthropocene. We see two areas that need advancement in this theoretical upsurge. First, how could we connect these new formulations with classical ideas of nature in East Asia? Second, how should we not lose sight of political urgencies like decolonization and anti-neoliberalization while we dive deeper into the philosophical terrain of ecology? This special issue will serve as a first step in addressing these concerns. Thus we are particularly interested in creative projects and writings that pursue ecological justice together with social and political equality, because the search for vibrant ecologies is inherently linked to the search for radical democracies.
 
The theoretical and thematic explorations we seek include but are not limited to:
 
·      How do artists negotiate the post-colonial paradigm of equality and social justice alongside new investigations in ecology?
 
·      What is the renewed role of aesthetics in understanding politics of ecology, equality, and justice? How does art transform our understanding of ecology or the practice of eco-activism? Conversely, how does eco-political art transform our understanding of aesthetics? Do we see a new conceptualization of aesthetics based on collectivism and radical politics? 
 
·      Is there a privileged aesthetic language with which we can discuss the politics of ecology, such as new tactics of data accumulation and information visualization? How have the traditions of documentary realism and landscape painting figure into the aesthetics of eco-politics?
 
·      How do the examples of ecological art complicate the category of “contemporary Asian art” built heavily on art produced in urban centers?
 
·      How does the concept of ecology as a parameter and subject of artistic practice question the nation-bound categorization in contemporary art—and subsequently contribute to enriching, or overcoming, the “local/global” dyad?
 
·      How do artists simultaneously engage with the geopolitics of Cold War and the greenwashing “environmentalism” in areas such as the DMZ?
 
·      How was the notion of “nature” conceived and transformed in pre-modern and early modern periods? How does contemporary practice in East Asia—informed by classical discourse on nature—position itself in relation to Thing Theory/ New Materialism/ Posthumanism developed by Euro-American thinkers?
We welcome both shorter articles that describe and analyze specific artworks (1,500-3,000 words) and full-length papers that investigate theoretical issues and/or articulate important movements (6,000-8,000 words). The geographic region of “East Asia” includes Greater China (Mainland China, Hong Kong, Macau, and Taiwan), North Korea, South Korea, and Japan. Essays with comparative perspectives will also be considered. Artworks can range in various mediums including painting, installation, photography, video, conceptual art, media art, documentary film, theatre and performance.
 
Please send us an abstract (250-500 words) and CV before 1 February, 2015. We will inform authors of our initial decisions by 1 March, 2015. Complete drafts will be due on 1 July, 2015 for review and revision.

 

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Journal of Curatorial Studies
Special Issue: Latin American Curating and Exhibitions

This double issue is the first of several that will use a geographic theme to address under theorized aspects of curatorial history and practice. The nine essays, examining Latin American identity, aesthetics and politics, cover nearly 150 years of curatorial and exhibitionary projects occurring in Europe and North and South America. The issue proceeds chronologically, from the early representations of Latin American countries in nineteenth-century world’s fairs and universal expositions, and continues to the contemporary scene of biennials and museum installations. Along the way, the authors also delve into survey exhibitions, urban interventions, and public memorials.
 
ARTICLES
 
KATHERINE MANTHORNE
Curating the Nation and the Hemisphere: Mexico and Brazil at the US Centennial
Exposition, 1876
 
MAYA JIMÉNEZ
A ‘Primitive’ Latin America on View at the 1889 Exposition Universelle
 
MICHELE GREET
Occupying Paris: The First Survey Exhibition of Latin American Art
 
SUSANNA TEMKIN
Cuban Art and Culture In and Around the 1939 New York World’s Fair
 
RACHEL KAPLAN
Mexican Art Today: Inés Amor, Henry Clifford and the Shifting Practices of Exhibiting Modern Mexican Art
 
DELIA SOLOMONS
Staging the Global: Latin American Art in the Guggenheim and Carnegie Internationals of the 1960s
 
ANDREA GIUNTA
Feeling the Past: Display and the Art of Memory in Latin America
 
JAMIE RATLIFF
‘Where’ Else Could We Talk About?: The Border as Nomadic Site
 
CURATORIAL REFLECTION
 
ANNE BARLOW
Jill Magid’s Woman with Sombrero: A Poetic Interrogation of Artistic Legacy
 
EXHIBITION REVIEWS
Théâtre Du Monde (La Maison Rouge/Museum of Old and New Art), Luis Paredes:
Escapes y Refugios (Museo Para la Identidad Nacional), In Praise of Deserters (Inex Film), 13th Istanbul Biennial: Mom, Am I Barbarian?, Sakahàn: International Indigenous Art (National Gallery of Canada)
 
BOOK REVIEWS
The Curatorial: A Philosophy of Curating (Jean-Paul Martinon, ed.), Scandalous: A Reader on Art and Ethics (Nina Möntmann, ed.), Institutional Attitudes: Instituting Art in a Flat World (Pascal Gielen, ed.), Art & Textiles: Fabric as Material and Concept in Modern Art from Klimt to the Present (Marcus Brüderlin, ed.), The Global Contemporary and the Rise of New Art Worlds (Hans Belting, Andrea Buddensieg and Peter Weibel, eds), Art Production Beyond the Art Market? (Karen Van Den Berg and Ursula Pasero, eds), Audience as Subject (Yerba Buena Center for the Arts), Visual Cultures as Seriousness (Gavin Butt and Irit Rogoff), Artist-Run Spaces: Nonprofit Collective Organizations in the 1960s and 1970s (Gabriele
Detterer and Maurizio Nannucci, eds), Outrage: Art, Controversy and Society (Richard Howells, Andreea Deciu Ritivoi and Judith Schachter, eds)
 
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores curating and exhibitions and their relation to institutions, communities, and display culture at large. The journal supports in-depth investigations of contemporary and historical exhibitions, case studies of curators and their projects, and analyses of the theoretical and critical dynamics influencing the production and reception of exhibitions.
 
For more information about subscriptions and downloads visit:

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Call for Papers - Crime Uncovered: The Detective (edited by Barry Forshaw)

Intellect is currently looking for chapter contributions to The Detective, one of the first titles in a new book series examining character types in crime fiction. The Detective, edited by Barry Forshaw (author of Death in a Cold Climate [Palgrave Macmillan] and editor of British Crime Writing [Harcourt]), is an examination – and celebration – of the police detective throughout the long history of crime literature, TV and film, and will be looking to identify the individual characteristics that define these much loved characters and discuss how they relate to their surroundings, country and class – and the criminals they relentlessly pursue.
 
The book will be made up of three main elements: key protagonist case studies, author interviews and thematic essays on the detective in crime fiction.
 
As such potential authors are asked to contribute either:
 
·      essays that examine a chosen perspective on the global character type of the police detective as represented throughout the history of crime writing, film and television, or
 
·      essays on individual protagonists. These chapters will focus on one character and act as a case study of the character type in question. Please choose from one of the following police detectives to examine:
 
  • Commissaire Jules Maigret (Georges Simenon, France)
  • Commander Adam Dalgliesh (PD James, Great Britain)
  • Detective Martin Beck (Sjöwall & Wahlöö, Sweden)
  • Commissario Salvo Montalbano (Andrea Camilleri, Italy)
  • Detective Harry Bosch (Michael Connelly, USA)
  • Jefe Javier Falcon (Robert Wilson, Spain)
  • Detective Inspector Sarah Lund (Søren Sveistrup, Sweden)
  • Detective Inspector John Rebus (Ian Rankin, Scotland)
  • Commissaire Jean-Baptiste Adamsberg (Fred Vargas, France)
  • Detective Chief Inspector Jane Tennison (Lynda La Plante, Great      Britain)
  •  Detective Chief Inspector Van Veeteren (Håkan Nesser, Sweden
  • Detective Steve Carelli (Ed McBain, USA)
  •  Detective Inspector Saga Norén (Hans Rosenfeldt, Sweden/Denmark)
  • Detective Inspector Thomas Lynley (Elizabeth George, Great Britain)
  •  Detective Harry Hole (Jo Nesbo, Norway)
  • Detective Erlendur Sveinsson (Arnaldur Indriđason, Iceland)
Each case study will examine the protagonist through a filter of suggested topics that could include: Setting/location, plot structure, narrative techniques (used by the author to direct their protagonist), character background (and how this affects their general view on the world), methodology/procedure, personal philosophy and/or moral ‘code’, historical/political/social context in which they operate, fashion/style, props/gadgets, adaptation (changes that take place in the transition from the printed page to the screen), relationships/partners/sidekicks.
 
Essays should be approximately 4,000–4,500 words and written in an intelligent but jargon-free and accessible style that will appeal to the crime fiction fan and student, as well as the scholar.
 
If you would like to contribute to this title please contact the editor for more information: barry.forshaw@btinternet.com
 
Editor Biography:
 
Barry Forshaw writes on crime fiction and film for various newspapers and edits Crime Time. His books include Nordic Noir, British Crime Film and Death in a Cold Climate. Other work: British Gothic Cinema, Euro Noir, the HRF Keating Award-winning British Crime Writing, The Rough Guide to Crime Fiction and Italian Cinema. He has been Vice Chair of the Crime Writers’ Association, and teaches a City University MA course on the history of crime fiction.

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