Edited by Lincoln Geraghty, University of Portsmouth, UK
The American Hollywood volume consists of 12 genre categories each containing 8 film reviews, each genre is explored through an introductory essay which will also be written by contributors. The volume has space for critical discussions of key Hollywood directors and there are also chapters devoted to exploring the important areas of Hollywood film history, industry, stardom and audiences.
A symposium is being held on Saturday 13th February 10.30- 5.00 at Portsmouth University to launch the new Intellect journal Transnational Cinemas and The Centre for Cultural and Creative Research at the University of Portsmouth.
Speakers include: Andrew Higson, John Sedgwick and Mike Pokorny, Chris Berry, Song Hwee Lim, Will Higbee and Paul Kerr.
Venue: St George’s Building, Lecture Theatre 0.22 - St George's Building. University of Portsmouth, 141 High Street, Portsmouth, PO1 2HY.
Cost (including lunch and refreshments): £40 waged, £20 unwaged
To register for the symposium, go to http://www.port.ac.uk/webpay/events/
For more information contact Deborah Shaw: email@example.com
About Transnational Cinemas
ISSN 20403526 | 2 issues per volume
Armida de la Garza, University of Nottingham, Ningbo, China
Deborah Shaw, Portsmouth University, UK
Ruth Doughty, Portsmouth University, UK
Claudia Magallanes-Blanco, Universidad Iberoamericana Puebla, Mexico
Patricia Gaal-Holmes, Portsmouth University, UK
Transnational Cinemas has emerged in response to a shift in global film cultures and how we understand them. Dynamic new industrial and textual practices are being established throughout the world and the academic community is responding. Transnational Cinemas aims to break down traditional geographical divisions and welcomes submissions that reflect the changing nature of global filmmaking.
Find out more about Transnational Cinemas
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‘The question for us now…is not so much a matter of whether we are seeing the end of television as a form of content, but rather a way of mapping the varying formations and configurations of the presentation and distribution of television – and asking of each…“how is this still television?”’ – Jinna Tay & Graeme Turner, International Journal of Digital Television
Intellect is delighted to announce the launch of the International Journal of Digital Television at the Oxford Internet Institute, Oxford University on Thursday 26th November. The event will involve a number of special guest speakers including the editor of the International Journal of Digital Television Michael Starks. There will also be a seminar on the theme of ‘After digital switchover...?’ where copies of the first issue will be given away for free.
To celebrate the launch of this much-anticipated journal Intellect is offering HALF PRICE personal subscriptions until the 31st of December 2009. For this limited period personal subscribers can subscribe to volume 1 (and receive all three issues) of the journal for £16 / $25. If you are interested in this special offer, please visit: INTELLECT PROMOTIONS
About the International Journal of Digital Television
ISSN 20404182 | 3 issues per volume
Michael Starks: Oxford University, UK
Jeffrey A. Hart: Indiana University, USA
Jock Given: Swinburne University, Australia
The International Journal of Digital Television will describe and explain the transition to digital TV and wider trends in television. As switchover happens across the globe and television’s operations and audiences are transformed, the Journal will be at the forefront of efforts to understand the changes and developments.
The Journal will bring together, and share, the work of academics, policy-makers and practitioners, offering lessons from one another’s experience. Content will be broad and varied, evolving as the focus shifts from switching off analogue TV to the challenge of exploiting digital television’s convergence with the Internet and telecommunications.
The first issue is truly international in scope and voice, containing a diverse range of articles that include Jeffrey A. Hart’s ‘The Transition to Digital Television in the United States’ and Norio Kumabe’s commentary on the ‘Preparations for Digital Switchover in Japan’ as well as a discussion focussing on digital television in developing countries.
For further information about the International Journal of Digital Television including a complete table of contents for issue 1 please go to: http://tiny.cc/OMnaD
Alternatively contact James Campbell on: firstname.lastname@example.org
Edited by Blandine Stefanson, Visiting Research Fellow, The University of Adelaide, Australia; Guest Editor, Journal of African Cinemas
African cinema is often contested as a reality or a concept: ‘Does it exist?’, ‘What is it about?’ ‘How do productions from Egypt to South Africa fit in under the African label?’ Yet African films are the focus of many festivals within Africa (Ouagadougou, Cairo, Carthage, Marrakech, Kigali, Goma, Bukavu, Bujumbura, Zanzibar, Durban) and abroad (Amiens, Nantes, Milano, Verona, Montreal, Brussels, Leuwen (Louvain), Namur, Amsterdam, London). The Directory of World Cinema: Africa will provide an insight into the cinema of many African countries through reviews of significant titles and case studies of leading directors, alongside explorations of the cultural and industrial motivations of key themes and genres.
Maeve Connolly's seminal work on site, space and cinema architecture in film and video works by artists, The Place of Artists' Cinema, is reviewed by Robert Porter in the latest issue of Variant (Winter 2009).
Meave Connolly’s arguments in 'The Place of Artists’ Cinema' "force us to think of ‘artists’ cinema’ as a form or practice that raises interesting questions, for example, about the nature of ‘place’, about the ‘market’ or ‘post-Fordist capital’, about the notion of the ‘public space’, about the status and scope of ‘events’... Connolly’s passion, perhaps even advocacy, for the works she discusses comes through strongly and the reader is left with the distinct impression that while not simply a work of canonisation (a possibility or danger Connolly herself acknowledges early on in the text), this book is moved by a desire to praise rather than bury, and is therefore critical in an affirmative and productive sense." (Robert Porter – Variant)
Find out more about The Place of Artists' Cinema: Space, Site and Screen
Diasporas of Australian Cinema is reviewed by Sarah Pinto, Centre for Australian Indigenous Studies, Monash University and appears in the Southwest Journal of Cultures, which is an interdisciplinary venue for culture studies book reviews.
To read the review in full please visit: southwestjournalofcultures.blogspot.com
"The collection begins with a theoretically-engaged Introduction where the editors provide two substantive arguments for the significance and importance of their diasporic approach, one historical, the other political: that ideas of a “transient, diasporic collective” are increasingly being attached to the Australian state (18); and that discussions of inclusive identities that allow for the possibility of multiplicity and “national cultural heterogeneity” (27) are particularly important at a time when calls for homogeneity have once again returned to prominence in Australia...Taken together, these chapters reveal a vibrant and important diasporic cinematic tradition in Australia. The collection both engages with and critiques its central diasporic concept, which gives it a methodological and theoretical strength that extends beyond its national focus." (Extract taken from Sarah Pinto's review)
Find out more about Diasporas of Australian Cinema
Intellect is pleased to announce that the British Film Institute are stocking a varied selection of our journals at their Filmstore, located on the South Bank, London.
Furthermore, to mark this exciting partnership between the BFI and Intellect the Filmstore will be selling individual copies of our journals for a mere £8.00. The Filmstore will also be stocking back issues of Film International starting with number 7.4, so if you miss out first time around you can drop in and pick-up a copy.
The BFI will be stocking the following journals, click on them to find out more:
BFI contact details:
Find out more about the British Film Institute
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The symposium is part of a series of Korean cultural events in Nottingham throughout November. One of the main events is a Korean Film Festival running at the Broadway cinema from the 16th to the 18th.
On Monday 16th at 17:30 there will be a screening of Bong Joon-Ho’s new film Mother followed by a Q&A chaired by Julian Stringer. As this is event is being organised separately from the symposium you will need to book a ticket through the Broadway cinema by contacting the box office directly on 0115 952 6611.
Further information on Broadway, the Korean Film Festival and the Korean Cultural Centre can be accessed here:
The editor of the Directory of World Cinema: Germany is calling for authors to contribute to the directory. She is seeking short critical essays of approximately 700-800 words (incl. a brief synopsis) on both notable and more obscure German films. Established scholars of German cinema as well as emerging scholars and graduate students are welcome to contribute. To avoid overlap, please contact her in the first instance with a list of films you would like to write on and a brief scholarly bio. Direct all enquiries and EOI’s to Dr Michelle Langford (UNSW) email@example.com
From images of La Dolce Vita and Mafiosi in dark glasses, to the bleak landscapes of
Antonioni and the city streets of neo-realism, Italian cinema has long been an object
of fascination. But these familiar motifs are only aspects of a cinema which, due to its
importance both internationally and within Italy’s own cultural traditions, still offers new areas of exploration. Italian cinema not only holds a central place in the development of global film history; examples such as silent spectacle and post-war genre cinema were also important participants within a wider domestic heritage. While Italy’s renowned contributions to auteurism and realism are ripe for reconsideration, the opportunity remains to shine new light on the traditions of music, melodrama, comedy and action, that also contribute to the richness of Italian cinematic production.