"Many of the book’s points are well made and well argued. Movie censorship, Smedley notes, flourished under Roosevelt’s liberalism, perhaps deemed necessary to ensure the nation’s solidarity in the fight against poverty and later against the Nazis. Censorship gave ground when dark postwar psychodrama (Double Indemnity, The Big Sleep) took over in Hollywood from sunny, coercive optimism (Frank Capra) or sinew-stiffening patriotism (John Ford)." Nigel Andrews
Find out more about A Divided World: Hollywood Cinema and Emigre Directors in the Era of Roosevelt and Hitler, 1933-1948 online.
'The final stop on the American Independent Gothic tour is Ozarks, Missouri. You must be back on the bus in two hours. The driver will not come to find you. I repeat…the driver will not come to find you.
The Ozarks Mountains is a vast highland region of the central United States that not only covers the Southern half of Missouri, but also extends into north-central Arkansas, north-eastern Oklahoma and south-eastern Kansas. Most available guides to the region make note of the fact that Ozarks is actually a plateau rather than a mountain range, but it has become known as Ozarks Mountains due to the deep dissections that run through the area, giving it a mountainous appearance. The local tourist board is obviously keen to promote the outdoors activities associated with the region (hiking, horseback riding, mountain biking) in addition to its natural attractions (caves, lakes, rivers), so it would be understandable if they decided against arranging any screenings of Debra Granik’s unsettling thriller Winter’s Bone for first-time visitors to the area. In this superb slice of Southern Gothic – concisely adapted from Daniel Woodrell’s 2006 novel – local hospitality is replaced by local hostility, and even those who have lived in the region since birth can be treated as outcasts if they fall out of step with the unwritten rules of a closed society.'
Directory of World Cinema: Belgium
Editors: Jeremi Szaniawski and Marcelline Block
Despite being one of Europe’s smallest countries, divided amongst three linguistic communities and without a genuine film industry of its own, Belgium has, against all the odds, managed to produce some of the most interesting and unheralded films of the second half of the 20th century. After the founding works of precursors Henri Storck and Charles De Keukeleire, filmmakers such as Chantal Akerman, André Delvaux, Stijn Coninx, the Dardenne Brothers, Jaco Van Dormael, Gérard Corbiau, Felix Van Groeningen and others, have put Belgium on the map through prestigious film festivals and ignited the imagination of critics and cinephiles around the world. In the meantime, the small but dynamic Flemish film market has produced films such as ‘The Alzheimer Case’ and ‘Loft’ that compete with much bigger budget productions. Belgian cinema has developed in a vibrant cultural atmosphere that includes socialism (Emile Vandervelde), symbolism (Maeterlinck), Art Nouveau architecture (Horta), surrealism (Magritte, Broodthaers), comic strips (‘Tintin’ and the Marcinelle school), as well as cinephilia itself (the Royal Film Archive possesses one of the world’s largest collections) --but also its problematic colonial heritage and complex relationship with its neighbors. The relative lack of unity at the level of government funding and minimal budgets could have proved the expensive medium’s undoing, but instead it often goaded the filmmakers into creative, poetic and experimental approaches.
Intellect is pleased to be sponsoring the membership of all its journal editors in the Council of Editors of Learned Journals (CELJ).
CELJ offers many benefits including:
- Mentoring by senior editors in the field at scholarly conventions
- An internet listserv exclusively for editors for mutual consultation
- Confidential support for editors and contributors on matters of standard journal protocols as well as on requirements for contributors' scholarly reliability
- Awards including Best New Journal, Best Design, Lifetime Editorial Achievement, and the Phoenix Award for Editorial Revitalization.
- Free display of member journals at conferences and on its web site
MEMBERSHIPS CAN BE ORDERED ONLINE at www.celj.org (or download and mail a membership form).
For more information contact CELJ president, Alan Rauch, Editor, Configurations, email@example.com
Aims and Scope
Choreographic Practices provides a space for disseminating choreographic practices, critical inquiry and debate. Serving the needs of students, teachers, academics and practitioners in dance (and the related fields of theatre, live art, video/media, and performance), the journal operates from the principle that dance embodies ideas and can be productively enlivened when considered as a mode of critical and creative discourse. Placing an emphasis on processes and practices over products, this journal seeks to engender dynamic relationships between theory and practice, choreographer and scholar, such that these distinctions may be shifted and traversed.
Recognising and celebrating the very present, embodied, often intuitive and complex nature of creativity, we seek to provide a place in which makers/scholars can articulate their processes, giving readers sensitive, critically informed insights into interdisciplinary choreographic methods.Through this publication we ask: What questions are current movement based artists investigating in their research? What characterises this research? What boundaries are contemporary choreographers exploring? How are performances made? And, how can processes be articulated?
Current dance practices intersect with other forms and ways of thinking for disciplinary boundaries have become blurred. We seek to reflect such intra-, inter- and trans-disciplinary happenings by encompassing a wide range of methodologies and critical perspectives. Authors might consider, for example, the ways in which cultural studies, psychology, phenomenology, geography, philosophy and economics open up the nature and scope of dance practice as research. Drawing together diverse bodies of knowledge and ways of knowing Choreographic Practices illuminates an emerging and vibrant research area.
In order to advance such aims the journal is viewed as an experiential space. We encourage both traditional and alternative modes of writing, and look to publish strongly visual, performative and print materials in alternative layouts. Therefore, alongside more conventionally discursive essays, will invite debate, musings, photo essays, movement scores, makers’ notebooks, blogs in print, interviews with leading practitioners and reports.
For more information on submitting an article 'Read more'...
Wednesday, February 2nd, 2011 - 4:00-6:00 pm
Senior Common Room, Vanier College, York University
CCGES and the Office of the Master, Vanier College are pleased to present a book launch for Centre affiliate and Vanier fellow Susan Ingram's new publication Berliner Chic (Intellect Books 2011). Described as a locational history of Berlin fashion, this collaboration between Prof. Ingram and Katrina Sark (CCGES Graduate Diploma recipient and MA in Humanities,York, 2006) explores the emergence of Berlin as a fashion capital against a backdrop of politics, ideology and war. All are welcome to attend and light refreshments will be served.
John Berra's latest guest blog for 'The Gothic Imagination' is now online:
'The American Independent Gothic tour now arrives in Los Angeles, California. Of course, no tour of Los Angeles would be complete without a trip to the Hollywood hills and a little look into the workings of the Hollywood studios, and this particular package is no exception. However, this tour intends to reveal the underbelly of the Dream Factory rather than to celebrate its glitzy veneer and, as such, operates completely independently without any sponsorship from corporate affiliates.
To some extent, this is also the professional approach of David Lynch, a director whose occasional dealings with the studio system have often sent him scurrying back to the margins in order to preserve the artistic integrity of his cinematic output, or at least to avoid providing easy explanations to his audience. From the industrial interiors of Eraserhead (1977), to the logging community of Blue Velvet (1986) and the small Washington town of his television series Twin Peaks (1990-1991) and its big-screen prequel Twin Peaks: Fire Walk with Me (1992), Lynch has re-appropriated locations to suit his skewed vision of America, and the Los Angeles of Mulholland Drive is no exception. '
You might also be interested in The Film Paintings of David Lynch
Intellect joined nearly 10,000 attendees at this year’s Modern Language Association conference in Los Angeles, California. The MLA Annual Convention is the largest and most influential for scholars of languages and literature in North America. The event is international in scope—over a three-day period, representatives from nearly 100 different countries contributed to over 800 panel sessions.
Masoud Yazdani, the founder of Intellect, flew in from the UK to attend. Also representing Intellect was North American representative, Amy Damutz. This was Intellect’s first time exhibiting at MLA, and we were pleased to introduce our latest books and journal portfolio to scholars.
Both Masoud and I had time to meet potential authors and editors, learn about your projects and share Intellect’s ethos and publishing goals during the event. Thanks to all who came by and discussed your work with us. We look forward to receiving new proposals and journal submissions. You’re encouraged to examine the Publish with us section of our website or contact me directly at firstname.lastname@example.org with any questions. It was a special pleasure to have Susan Ingram, author of Berliner Chic in attendance.
While in Los Angeles, Intellect joined the Council of Editors of Learned Journals (CELJ), an allied organization of the MLA. Masoud Yazdani contributed to CELJ’s panel session which allowed journal editors to discuss common concerns, share their collective editorial expertise, and offer advice to fledgling editors.
Thanks to organizers for a great conference. We look forward to seeing you at next year’s MLA convention 5-8 January 2012 in Seattle!
Intellect was delighted to attend this year’s MeCCSA (Media, Communication and Cultural Studies Association) conference, held at the award-winning theatre and arts complex The Lowry, at Salford Quays in the city of Salford on 12th-14th January 2011.
Thank you to all who stopped by to chat and discuss your work and ideas with me - it was great to meet so many of you there, both new and familiar faces. I would particularly like to thank the panel chairs who helped spread the word. I enjoyed speaking to many of you about new and existing projects and ideas, and we look forward to receiving your submissions. Please do check out the Publish with us section of our website for more information. I would also like to thank the conference organisers for arranging everything. We look forward to attending next year!
A Screen-based Exhibition by Jane M Bacon and Vida L Midgelow
7-25 February 2011, Mon-Frid 10am-4pm
Opening Event: Tuesday 8th February 5-8pm
Evocative and thoughtful Sensualities is a joint exhibition by interdisciplinary dance makers/academics Jane Bacon and Vida Midgelow. Developing their ongoing work as Co-Directors of the Choreographic Lab (University of Northampton) they present a collection of works that articulate the experience of moving and being moved using video, text and photographic imagery. In her new work Midgelow uses close up shots and tightly framed images of the dancer’s body in an exploration of skin, screen and nakedness. Whilst Bacon explores landscape and writing as alternative inspirations or ‘fields’ for generating creative articulations that speak to the inter-relationship between Psyche, Soma and Spirit.
Moving Forwards: Practice as Research in Dance (half day symposium)
Wednesday 23rd February 1.00pm-5.00pm
Moving Forwards will articulate and investigate current agendas in PaR across Dance Practices.
Following papers by leaders in the field, there will be a round table discussion and time for open discussion, which will address some of the ongoing and emerging issues in the field.
This event is free and light refreshments will be provided.
For more information or reserve a place please contact: email@example.com
Venue: The University of Northampton,
Avenue Gallery, Avenue Campus,
St George's Avenue, Northampton, NN2 6JD
You might be interested in our soon to be published journal of Choreographic Practices edited by Vida Midegelow and Jane Bacon.