Do you know your Michael Myers from your Jason Voorhees and Bram Stocker from Bella Lugosi? If you do, try to survive Intellect’s Horror Studies Halloween Competition…
To celebrate Halloween and the forthcoming launch of our new journal Horror Studies, Intellect is running a terrific competition. The 1st prize is a year’s subscription to Horror Studies (3 issues) and two runners up will win copies of the spine-tingling book, Stephen King on the Big Screen by Mark Browning.
To enter the competition, download a copy of our quiz, answer as many questions as you dare and send your answers to email@example.com
Quizzes are available to download from: Horror Studies Halloween Competition
For further information please contact: firstname.lastname@example.org
Copies of American playwright Jon Tuttle's intriguing collection, The Trustus Plays, are available to buy from the National Theatre Bookshop.
The collection includes three plays: The Hammerstone, Drift and Holy Ghost framed by Tuttle's introduction discussing the existential underpinnings of the plays. The Hammerstone (1994) is an academic comedy about two professors aging gracelessly; Drift (1998) is a dark comedy about marriage and divorce, and, Holy Ghost (2005) portrays the plight of German POW’s kept in camps in the American South. Each is a winner of the national Trustus Playwrights Festival contest, and each has been produced by the Trustus Theatre, in Columbia, South Carolina.
'Jon Tuttle is a writer of great humor, compassion and humanity. [...] Like a fearless spelunker of the human condition, Tuttle digs his way into the lives of his characters, and explores the dangerous gaps between them – surveying the nooks and crannies that divide the known from the unknown, and the said from the unsaid, [finding] stories rife with bracing complexity and an aching sadness.'
– David Lindsay-Abaire, Winner of the 2008 Pulitzer Prize for Drama
Find out more about The Trustus Plays
Visit the National Theatre Bookshop
To celebrate the launch of the International Journal of Digital Television, Intellect are offering HALF PRICE personal subscriptions until the 31st of December 2009.
For this limited period personal subscribers can subscribe to volume 1 of the journal for £16 | $32. If you are interested in this special offer, send your order to the appropriate address below and quote the code: JDTVHALFPRICE in your correspondence.
Cheques payable to Turpin Distribution. Orders by email, post or fax:
Customers from UK, EU Rest of World (excluding US & Canada)
Turpin Distribution, Pegasus Drive, Stratton Business Park, Biggleswade,
Bedfordshire, SG18 8TQ, UK.
Tel: +44 (0) 1767 604 951 | Fax: +44 (0) 1767 601640
Customers from US and Canada
*Please note that prices include UK/US postage. Please add £9 for European postage and £12 for Rest of World postage.
Find out more about the International Journal of Digital Television
Editors: Tim Palmer (University of North Carolina Wilmington) and Charlie Michael (University of Wisconsin-Madison)
From the beginnings of cinema to the present day, France is perennially at the center of world film culture. Traditionally, though, the history of French cinema has been told in terms of great directors and select artistic movements. This new edited volume presents an alternative to this standard story – by unearthing lost or neglected films, broadening the canon, and offering original approaches to acknowledged classics.
Read Frank A. Mills review of Walking, Writing & Performance on The Empty Space http://www.frankamills.com/...
Film International made a notable appearance at the grand opening of Notting Hill's chic new cinema Cinéphilia West last Friday.
'A "home for all lovers of cinema" that, as the name suggests, is inspired by a love of and reverence for the moving image, Cinéphilia West is spread out over two floors of a smart building on Westbourne Grove, with a ground-level exhibition space and café that spills out onto the street, and a basement area comprising screening facilities, bookshop, and DVD store.' (Londonist.com)
Find out more about Film International
‘We know the discipline, the texts, ideas and arguments but many of our students surpass us in their knowledge, use and navigation of the contemporary media world’
– William Merrin, Interactions: Studies in Communication & Culture
What is the future for Media Studies when students often know more about media than their lecturers? Is it necessary to upgrade the discipline to Media Studies 2.0, and is the traditional idea of Media Studies obsolete? Does the revolution in new media really give power to the people, or does it simply give greater power than ever to those who would control us?
The inaugural issue of Interactions: explores these and other questions relating to the study, teaching and impact of Media Studies and the media. Examining the case for and against Media Studies 2.0, Interactions includes articles by William Merrin and David Gauntlett, the chief instigators of the original debate about the need to upgrade the discipline. Arguing that Media Studies is grounded in the study of outdated broadcast media, and is increasingly out of touch with students’ own experiences of media, Merrin highlights ‘the absurdity of being a Media Studies lecturer when your students know more about media than you do’.
Explore the inaugural issue of Interactions: Studies in Communication & Culture
Intellect author Pauline Small argues her point in today's issue of The Times:
Sir, I was intrigued to read your correspondent’s account “Jayne Mansfield upstages Sophia Loren” (“The story behind the picture”, Magazine, Oct 17). I, too, researched this photo shoot for my book Sophia Loren: Moulding the Star (2009), but my interpretation of these shots was entirely the opposite to that of your article.
Certainly, Loren had just arrived in Hollywood, and this event was designed to mark the occasion in glittering style. Before this she had for some years competed in a kind of “battle of the busts” in Italy with Gina Lollobrigida with the aim of becoming Italy’s most successful and popular female star. This trip to Hollywood came about as a result of what Life magazine termed “the biggest contract ever struck for a non-Hollywood star” — to make films with Paramount.
Thus, in the photos in your magazine, Loren sits among the leading lights of Hollywood in the full knowledge that her career is in the ascendancy. I would argue instead that Jayne Mansfield’s opportunism was read, even at the time, as just this: she has the look of paying court to Loren, surely destined for a much more lucrative career than poor Mansfield was ever capable of achieving.
Film Department, Queen Mary, University of London
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A number of books have been published recently that seek, in one way or another, to shed light on what many of their authors see as the hidden, or under-theorised, history of moving image practice in the gallery.
The Irish academic Maeve Connolly’s new book, The Place of Artists’ Cinema: Space, Site and Screen, looks at the presence of the moving image within the spaces and sites for contemporary art: museums, biennials, art fairs, commercial galleries etc. She pays particular attention to how social relations are structured within these spaces, and the relationship that moving images within the gallery have to notions of place and site.
Intellect author, Quad curator and artist, Alfredo Cramerotti has written a revealing piece about the work on JH Engstrom for the online photography magazine 1000 Words.
To read the article in full go to: www.1000wordsmag.com/