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'Lynch Conversations' Symposium

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.

 
To find out more about the event visit their website. You can also buy the book
Read more Posted by Jessica Pennock at 16:20 (0) comments
Double Exposures Launch
Double Exposures, co-published with the Live Art Development Agency, is a new collaborative venture between Manuel Vason and forty of the most visually arresting artists working with performance in the UK. Ten Years after his first book Exposures, Vason has produced another extraordinary body of work, which sets out new ways of bridging the performance and photography.
 
The book will be launched in Bristol at IBT Festival, 14th February at the Arnolfini and will include an Artist Talk with Manuel Vason. 
 
The second launch will be held at the Tate Britain on Tuesday 17th February at 18.30 includes a discussion and signed books will be available. 

 

Both events are not to be missed.
Read more Posted by Jessica Pennock at 10:51 (0) comments
WOW Wales One World Film Festival
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.

 
On March 20th 2015, WOW Wales One World Film Festival returns for its 15th year, bringing the very best world cinema to local cinemas across Wales. From the snowy mountain passes of Pakistan to the sandy streets of Timbuktu, the festival will transport cinema audiences across the world. 
 
A special event at Chapter Arts Centre on Saturday 21st March will bring filmmakers, critics, and audiences together for a unique day exploring this golden age of Iranian cinema. Starting in 1987 with Abbas Kiarostami’s Where is the Friends Home?, a generation of globally acclaimed Iranian filmmakers including Mohsen Makhmalbaf, Bahman Ghobadi and Samira Makhmalbaf won prizes at festivals across the world. While revealing social changes in post-revolutionary Iran to Western audiences, their films were visually striking, rich in symbolism and full of wonder.
 
March 21st is also a very special date in the Iranian calendar, as it’s Nowruz, or Iranian New Year. Deeply rooted in Zoroastrian traditions, Nowruz, meaning "New Day”, has been celebrated for at least 3,000 years to mark the start of Spring. WOW Film Festival will be holding further Nowruz celebrations and screenings of Iranian films at Aberystwyth Arts Centre and at the Small World Centre, Cardigan. These events are part of a UK-Iran season of culture supported by the British Council.
 
The hugely influential Iranian neorealist style that emerged from this period has since had an enduring legacy world-wide and continues to influence many young filmmakers. WOW Film Festival is working with the British Council to bring a selection of rarely seen Iranian films like Bashu, the Little Stranger , Hamoun and Under The Skin of the City to Wales.
 
WOW Film Festival will be holding the UK Premiere of Deep Listening (Dadirri)at Aberystwyth Arts Centre on Monday 23 March. Helen Iles, an independent filmmaker from Swansea who made Living in the Future about the Lammas eco village in west Wales, is currently based in Melbourne where she has made her new film, Deep Listening (Dadirri). In the 1970s a growing movement for social change resulted in planning being granted for the first multiple occupancy dwellings in Australia.  Deep Listening includes illuminating interviews not only with some of the leading lights in the Australian alternative living scene, but also with Aboriginal elders who share their own wisdom on the indigenous way of Dadirri or Deep Listening, which translates as a form of connection to land and people also underpinning the “alternative” way of life. The lessons learnt by a generation who have spent their lives creating harmonious societies that reflect their shared values give us all tools that can enrich our own lives.
 
In 2015 Wales commemorates 150 years since the ship Mimosa arrived in Patagonia carrying Welsh emigrants with the aim of establishing a Welsh-speaking colony. WOW marks the anniversary with two contrasting but equally intriguing Patagonian films.  Set against the background of colonialism, award winning metaphysical western Jauja— its title a reference to a mythical land of plenty - stars Viggo Mortensen as a 19th century Danish engineer following his runaway daughter into the rugged wilderness of Patagonia.  Natural Sciencesis a contemporary tale about a headstrong and self-sufficient young girl from the Patagonian mountains, who is determined to find the father she never knew. Setting off with a sympathetic teacher, their journey through wrong turns, dead ends and mistaken identities is wryly funny and wholly moving.
 
Three stunning films explore the experiences of women breaking away from what is expected of them and challenging traditional values. In the joyful Margarita, With a Straw a rebellious young woman with cerebral palsy leaves her home in Delhi to study in New York, unexpectedly falls in love, and embarks on an exhilarating journey of self-discovery. The best movie to come out of Pakistan in many years, and gorgeously filmed in the beautiful high Himalaya, Dukhtar is the thrilling tale of a brave mother who flees with her 10-year-old daughter to save her from marriage to a local warlord. Award winning Difretsees a bold women’s aid lawyer fight for a young girl’s life in a riveting tale that reveals Ethiopia’s cultural complexity, where traditional customs are pitted against modern ideas of equality.
 
The culture clash continues in Timbuktu, Abderrahmane Sissako’s (Bamako, Waiting for Happiness) lucid portrait of the impact of foreign jihadis on life in Mali, as they hypocritically enforce sharia law – no music, no football, no smoking, suitable dress. Beautifully filmed against the backdrop of sandy streets, stark desert landscapes and the sparkling river, this weaves together the stories of the residents as they adjust to living with oppression as best they can.
 
Also confirmed in the festival line-up are the intriguing, hugely original The Tribe from Ukraine that has won prizes at festivals all across the world, and the fabulously beautiful August Winds from Brazil. As usual, the UK’s longest running world cinema festival brings untold stories from around the world to cinema screens across Wales.
 
Festival Director David Gillam said, “It’s great pleasure for WOW to bring all these wonderful films to Wales. I’m particularly looking forward to celebrating Nowruz, or Iranian New Year with some great events at venues around Wales.”
 
For further information on WOW Wales One World Film Festival, visit www.wowfilmfestival.com
Read more Posted by Jessica Pennock at 10:54 (0) comments
Drama Therapy Review (DTR) welcomes submissions for issues 1.2 and 2.1

Please note the distinct issues and deadlines, below. 

Call for Papers Issue 1.2
 
Drama Therapy Review seeks articles that reflect the journal’s intention to document and disseminate drama therapy research, promote scholarship about drama therapy theory and practice, encourage inner and inter disciplinary dialogue, and provide a forum for lively debate in the field. DTR profiles and critically reflects upon current and emerging practices involving the intentional and therapeutic uses of dramatic improvisation and performance in clinical, educational, community, organizational, and research contexts.
 
Questions to consider:
  • 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?
These are but some of the questions that continue to arise in the field. DTR welcomes contributions from a wide range of scholarly work including, but not limited to: 
  • quantitative studies
  • qualitative analysis
  • practice and arts-based research
  • Reviews
  • Reports
  • Interviews
  • Commentaries
The editorial board assesses articles for the quality of scholarly and critical content. The principal language is English; however, the journal will consider articles in other languages for which reviewers can be accessed, with abstracts in English. Editorial assistance may be given to those whose work is worthy of inclusion, but for whom the language of the article is not their first, or for whom the written word is not their forte. There is an explicit policy of making the articles stylistically accessible and readable to the range of readership. 
 
To submit work for consideration please download our submission guidelines or contact the editor, Nisha Sajnani: dtr@intellectbooks.com. The submission deadline is February 1st, 2015.

Call for Papers for Special Issue (2.1): Borderlands: Diversity and Social Justice in Drama Therapy
 
This special issue of DTR will reflect on the contribution of drama therapy to the promotion of diversity and co-existence. Drama therapy involves the intentional use of dramatic improvisation and performance to deepen empathy, gain perspective, reveal group dynamics, and to work through conflict in order to alleviate distress and initiate desired changes. This issue aims to elevate discourse on diversity and inclusion by inviting contributions that critically engage with questions of power and privilege in the field of drama therapy.  This issue will also call attention to the ways in which drama therapeutic techniques are used to respond to historical and current forms of social control and exclusion. How might drama therapy contribute to a broader social discourse on culture and the politics of difference?
Key questions to consider:
  • 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?
DTR welcomes contributions from a wide range of scholarly work, including, but not limited to:
  • Quantitative studies
  • Qualitative studies
  • Practice/arts-based research
  • Reviews
  • Reports
  • Interviews
  • Commentaries
The editorial board assesses articles for the quality of scholarly and critical content. The principal language is English; however, the journal will consider articles in other languages for which reviewers can be accessed, with abstracts in English. Editorial assistance may be given to those whose work is worthy of inclusion, but for whom the language of the article is not their first, or for whom the written word is not their forte. There is an explicit policy of making the articles stylistically accessible and readable to the range of readership.
 
To submit work for consideration please download our submission guidelines or contact the editor, Nisha Sajnani: dtr@intellectbooks.com. The submission deadline for Issue 2.1 is August 1, 2015.
Read more Posted by Jessica Pennock at 10:41 (0) comments
Call for Papers: Journal of Music, Technology & Education
Special issue on Technology and Performance in Popular Music Education

Guest editors: Gareth Dylan Smith and Bryan Powell  

Performance in popular music education is an increasingly technologized space. As guitars, drums and microphones are gaining greater acceptance in school music curricula around the world through performance-based pedagogical models, such as the Modern Band curriculum of Little Kids Rock, and Musical Futures’ informal learning approach. Turntablism, music production and rapping have a growing presence in programmes from primary school to graduate level. Songwriting courses, rock camps and international collaborative pop projects sprout up globally in physical spaces and online, while children and young people write, produce and release multi-media popular music artefacts from their bedrooms and basements. Popular music has always relied on, grown through, and pushed innovation in technology. With students embracing change faster than many teachers can imagine relevant pedagogical approaches, new paradigms of performance are emerging: drummers become musical directors at the helm of a plethora of technologies, bassists play synthesizers as much as guitars, and front-people are masters of Ableton, loop pedals and computerized gloves. As performance and production skill sets thus diversify and converge, so other technologies democratize the music-making landscape.
 
The domains of technologically mediated popular music performance in educational contexts require the attention of critical scholars and actions researchers. This special issue of JMTE invites colleagues to submit papers including, but not be limited to, critical perspectives on the following:
 
·      Epistemologies and intersectionality in technology and popular music performance;
·      Music, technology and the liminal popular music performance classroom space;
·      Negotiating performance, (social) media and intellectual property in popular music performance;
·      Gender and technology in popular music performance;
·      Ethics and technologically mediated pro-sumption of popular music.
 
Please submit full papers of between 5,000 and 7,000 words to:
Read more Posted by Jessica Pennock at 09:44 (0) comments
Call for submissions to Northern Lights, Volume 16 - Themed Issue on: Television Drama in the Age of Media Convergence
TV drama seems to be in a state of permanent transformation. However, the present transformation hits the core of TV drama as we knew it, challenging the very concept of what TV drama used to be. Even if we choose to maintain the concept of TV, questions abound: Does digital TV increase choice and diversity, or does it just offer more recycled TV drama programmes? Does it change the role and obligations of public service broadcasting? To what extent are global TV drama formats favoured and enjoyed by audiences? The recent transition to digital TV and the impact of media convergence raise crucial aesthetic, cultural, social and political questions.
 
Technologically, TV has experienced a digital revolution, paving the way for seamless viewing via online distribution and streaming. Besides streaming, companies such as HBO and Netflix have launched themselves as commissioners and producers of original programming with yet-unknown consequences for traditional TV channels and production companies. Consequently, new models of production, distribution and consumption are developing. The tendency towards convergence between cinema and TV drama has accelerated. Directors usually associated with cinema such as Martin Scorsese, Jane Campion and Steven Soederbergh have made joint ventures with TV production companies, launching exclusive TV series with film actors. Furthermore, the intersections between television and social media, from debates on various websites to hashtags, live-tweeting and second screen phenomena, constitute an area of clear importance.
 
During the same period, TV drama has been an object to globalisation on a compelling scale, which manifests itself in different ways. This is felt in increasing coproduction and co-financing, in international casts and international exchanges of directors and script writers. English/American is the language of advantage, in which all kinds of cross-national productions are primarily performed. Is this state of affairs challenged by Asian, South American, or non-English European productions?
 
Alternative tendencies co-exist with globalisation and binge viewing. Broadcast TV is no longer considered “the private life of a nation state” (John Ellis 1982). Nevertheless, national broadcasters in many nations, such as the Scandinavian countries and the UK, continue producing TV drama, and the often-excellent ratings suggest that there remains an audience for their productions. Although national TV drama may primarily address a domestic audience, it is often made from a cross-cultural perspective, addressing the extended family at home as well as the more remote relatives in other countries. But how is this achieved?
 
In this volume of Northern Lights, we will focus on the transformation of TV drama in the age of media convergence and consider how we can understand this transformation by reconfiguring our theoretical and analytical approaches.

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?
Send extended abstracts of 500-600 words to volume editors Professor Gunhild Agger (gunhild@cgs.aau.dk) and Associate Professor Mette Mortensen (metmort@hum.ku.dk).
 
Deadline for abstract submission: 1 April 2015
Notification of authors: 15 April 2015
Final article submission: 1 September 2015
Publication: Spring 2015
Read more Posted by Jessica Pennock at 11:32 (0) comments
Call for Papers: Journal of Italian Cinema and Media Studies
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.

Send proposals in British English to the Editor, Flavia Laviosa, at flaviosa@wellesley.edu, by 25 February, 2015 and provide the following information:
 
1) a 500-word abstract outlining:
 
a) the topic
b) critical approach
 
The abstract should clearly state the goals of the article and provide a cohesive description of the objective of the argument.
 
In addition to the abstract, please submit the following:
 
a) relevant bibliography and filmography
b) 200 word biographical notes followed by a detailed list of academic publications or professional accomplishments.
Read more Posted by Jessica Pennock at 11:01 (0) comments
Call for Articles and Submissions: Critical Studies in Men’s Fashion
Special Focus Issue: The Impact of ‘Queer’ and ‘Gay’ on Men’s Fashion

Dr. Alex Bitterman, Guest Editor

 
Critical Studies in Mens Fashion is currently accepting submissions for a special focus issue on the impact of ‘queer’ and ‘gay’ on men’s fashion.  The deadline to submit a manuscript for this focus issue is 15 May 2015.
Contributions are welcome from all disciplines including: fashion studies, anthropology, art, art history, design, business, consumer studies, cultural studies, economics, gender studies, humanities, literature, marketing, psychology, queer studies, religion, sociology, and textiles.  Diverse methods including critical analysis, reportage, quantitative analysis, qualitative analysis and arts methods are accepted. 
 
Potential topics for this focus issue are broad, but may include:
 
•      Meterosexuality
•      Gender-specific clothing typologies
•      Explorations of gender ‘appropriateness’ and identity in men’s fashion
•      The perception of stereotype in men’s fashion
•      Transitioning between ‘queer’ and mainstream culture
•      Profiles of prominent gay fashion designers
•      Investigations in differences between fashion culture for gay men vs. straight men
•      Defining and breaking barriers defined by sexual orientation relative to men’s fashion
 
All manuscripts will undergo double blind peer review.  Articles will be selected on their content, scholarship, and technical quality.  The content must be in line with the vision of the journal in advancing scholarship on men and appearance. 
All submissions must follow Intellect’s house style for review.  Attached and at:  http://www.intellectbooks.co.uk/MediaManager/File/Intellect%20style%20guide.pdf  Manuscripts should be approximately 5000 words and use British spelling.  It is the author’s responsibility to clear image rights usage if images are included in the manuscript.  
 
Please send submissions and queries to:
Dr. Alex Bitterman, Guest Editor
bittera@alfredstate.edu
 
or
 
Dr. Andy Reilly, Principal Editor
areilly@hawaii.edu

Please feel free to circulate this call broadly to colleagues who may be interested.

Read more Posted by Jessica Pennock at 11:33 (0) comments
Call for papers: MIRAJ
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.
 
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 EditorialAssistant: miraj@arts.ac.uk
 

Deadline: 17 April 2015 

Read more Posted by Jessica Pennock at 10:07 (0) comments
The Big Picture film poster Competition

In partnership with Park Circus films, we’re giving away three exclusive posters for festive films that have become as synonymous with the Christmas season as Santa Claus or injuries at a black Friday sale.

The holiday wouldn’t be complete without a cosy revisiting of Frank Capra’s 1946 gem It’s A Wonderful Life, Brian Henson’s mischievous rehash The Muppet Christmas Carol and Robert Zemeckis’ CGI laden but no less magical The Polar Express - so you’ll be pleased to know that all three are back on the big screen at selected cinemas throughout the month of December.

All you need to do to win the set of three posters is tell us your favourite Christmas movie and why in 100 words or less.

Simply email your entry to Intellectthebigpicturemagazine@gmail.com before Friday December 19th for your chance to win.

Find out more here.

Read more Posted by Jessica Pennock at 11:47 (0) comments