New issue of Radio Journal 12.1&2 is out now

Intellect is delighted to announce the new issue of Radio Journal: International Studies in Broadcast & Audio Media 12.1& 2 This journal publishes critical analyses of radio and sound media across a variety of platforms, from broadcast to podcast and all in between. This special issue covers topics from the Portuguese free radio movement to youth radio training projects.

To gain access to this issue please click on the link below

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PUBLIC 51:Colour

Intellect is delighted to announce that PUBLIC 51 is now available online. This unusual issue, edited by Christine Davis and Scott Lyall is made up of a series of extracts, thoughts and artworks to form a journal-long reflection on the theme of 'Colour'. To evoke the fluidity of this issue, PUBLIC 51 is split into eight sections in the online version: 

Part One – Introduction (Christine Davis, Scott Lyall) 

Part Two - Entries: An Eternal Object, Value, Infection, A Confidence of Two, Endurance, Awareness, Experience. Includes text by Isabelle Stengers from Thinking with Whitehead, Christine Davis and Scott Lyall. Artworks by Wael Shawky, Paul P., Christine Davis, Adrian Piper, Terry Adkins, Chris Curreri. Poem by Tracy K. Smith.

Part Three - Entries: The Pick-Up, “Don’t Bifurcate”, Primary Colours, Touché-Touchant, Entropy, Redaction, Non-Colour, Mixture. Includes text by Isabelle Stengers, Christine Davis, Scott Lyall, Gilles Deleuze and Claire Parnet, Daniel Lanthier, Slavoj Zizek, Sean Cubitt. Artworks by Donald Weber, Odilon Redon, Patrick Syme, Claude Tousignant, Liz Deschenes, Steve McQueen, Frederik DeWilde, Pascale Marthine Tayou.

Part Four - Entries: Sea Noise, Sensa, Proteus, Black Glass, Techniques of Existence, Prehension, Puffs of Existence, The Close-Up, Pan de Mur Jaune, Concrescence, The Infra-Thin. Includes text by Isabelle Stengers, Christine Davis, Scott Lyall, Michel Serres, Brian Massumi, Georges Didi-Huberman. Artworks by Scott Lyall, Glenn Ligon, Annie Besant and Charles Leadbeater, Annika von Hausswolff, Scott Treleaven, Diane Morin.

Part Five  - Entries: Qualified Intensity, Notebooks, Coal Tar, Accidents, Chemical Reciprocal Action, Colour Issues, Makeup, Delivery, Use, Smart Paint?. Includes text by Christine Davis, Scott Lyall, Andy Patton, Julian Jason Haladyn, Esther Leslie, Elizabeth A. T. Smith, Jacob Kassay. Artworks by Andy Patton, Shirley Wiitasalo, F.F. Runge, Helen Frankenthaler, Jacob Kassay.

Part Six - Entries: Contemporaries, Saturation, Noir, Settlements, Seeds, Trees, Audio Cryptograms. Includes text by Christine Davis, Scott Lyall, Paul P., Ian Balfour, Isabelle Stengers. Artworks by Jack Kath, Fiona Annis, Silke Otto-Knapp, Stephen Andrews, Mario Doucette, Nadia Myre, Charles Gaines, Blake Rayne, Charles E. Burchfield, Nancy Weekly. Poem by Eleni Sikelianos.

Part Seven - Entries: Spectral Apostrophe, Toons, Stroop Test, Citizens in a Vat of Dye. Includes text by Christine Davis, Scott Lyall, Helio Oiticia, Kenneth Rogers, Peter Sloterdijk. Artworks by Barbara Balfour, Reena Spaulings, Ryan Ferko, Helio Oiticia, Pamela Rosenkratz, Namsa Leuba, Marc Camille Chaimowicz, Pieter Schoolwerth.

Part Eight - Entries: Phosporescence, Fog, Atmosphere, Air, Water, Pixels. Includes text by Christine Davis, Scott Lyall, Esther Leslie, Gernot Bohme, Bruno Latour, Isabelle Stengers. Artworks by Christine Davis, Ian Cheng, Fujiko Nakaya, Jean-Luc Moulene, John Sabraw, June Pak, Rafael Ochoa, Jack Goldstein. Also includes End Notes and Masthead for issue.

Contributing Editor: Aleksandra Kaminska

To access the issue online, please click here

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Read an extract from Karaoke Idols
Intellect are delighted to offer a short introduction from Karaoke Idols for free. We hope you enjoy reading this.

It starts out as a fairly mellow Saturday night at Capone’s. Several of the regular singers are performing their trademark songs. Jennifer is a young woman in her early twenties with a pale complexion, long brown hair, and a petite frame. She wears clothes that are typical of an average working-class girl of her age: a white blouse with thin, blue, horizontal stripes, blue jeans, and plain black leather shoes. She has chosen to sing ‘She’s in Love With the Boy,’ as written by John Simms and recorded by Trisha Yearwood. Jennifer arrived earlier in the night with her boyfriend, a young, short-haired man dressed in a white, long-sleeve shirt, blue jeans, and cowboy boots. He admires her performance from his seat on a stool by one of the pool tables near the back of the bar. The song is about a young girl who is in love with a boy of whom her father does not approve. Their eyes meet as she sings, a demonstration of the performance of a gendered relationship.

As Jennifer wraps up her song, a group of young men in their twenties enters the bar, a common event late at night when the mood at the bar goes from subdued to raucous, as the older regulars filter home, replaced with younger patrons who often arrive at karaoke later in the night after attending various concerts or parties. Among the new arrivals is Kenny, a young Latino man in his early twenties. He wears a black concert T-shirt with red lettering, baggy blue jeans, and tennis shoes. His hair is shaggy, and he wears a dark goatee and a thin mustache on his face. He also sports multiple piercings, including an eyebrow ring, a small gold nose ring, and large hoop earrings in both of his ears. He has several small, colorful tattoos along his forearms. Kenny turns in a slip of paper to the Karaoke Jockey (KJ) and soon he is called up to sing. He has chosen to sing the song ‘Poison,’ by Bell Biv Devoe. He sprints up to the stage and grabs the microphone. The voice that comes out of his mouth is a bit surprising for his tattooed and pierced appearance: it is soft, somewhat fey and lisping. But the words are not as soft, and he bellows into the microphone as he starts his song: ‘Less fuckin’ country!’

Kenny sings the song loudly, dancing from side-to-side with one arm holding the mike and the other arm held in a fist, pumping it up and down. After Kenny is done, he goes back to his group of friends who are hanging out along the back wall of the bar, giving him ‘high fives’ as he returns to his seat. After Kenny, it is Jennifer’s turn to sing again. This time she is singing ‘Crazy,’ a song that was written by Willie Nelson and made famous by Patsy Cline. As she begins to sing, Kenny starts to taunt her. ‘That’s not how it goes,’ he shouts at her, ‘you’refucking it up!’ Jennifer is visibly shaken and tries to ignore Kenny. Kenny begins to sing along with Jennifer from the audience, trying to correct her, and she gestures to him with her middle finger. During the next musical break, Jennifer looks at Kenny, then points to her boyfriend and threatens him, ‘That’s my boyfriend. He’s gonna kick your ass if you don’t shut up!’ Kenny backs off for the moment, but the mood among the rest of the patrons in the bar has perceptibly shifted from mellow to tense. Eventually, the situation seems to be diffused through the fact that it is happening in the public context of a karaoke performance and not in private. As far as I can tell, no actual violence happens and all of the parties involved in this verbal (and musical) scuffle go home unscathed.

The Big Three Killed My Baby

This performance was one of many I observed during my ethnographic research of a local karaoke bar. How is it that three words directed at a genre of music (‘Less Fuckin’ Country’) could create so much trouble? The answer to this question seems to be rooted in the way that karaoke, as a space of cultural production, acts as a conduit for the performance of various categories of human identity. This particular example is quite unique, in that it involves all three of the categories of the performance of identity that will be examined in this study: gender, ethnicity, and class.

I ask you, the reader, to answer this question, did the conflict in this example arise because of tensions due to: (A) gender, (B) ethnicity, (C) class, or (D) all of the above? It might seem that, in this example, the performances of these various categories of identity are hopelessly entangled. If so, how does one go about untangling them? The purpose of this research is to use karaoke as a window into discussing the formation of human identity; to interrogate the means by which social categories of identity – especially gender, ethnicity, and class – are constructed through performances; and to document the ways karaoke can be used to subvert these fabrications.

After all, what do we know, on a microscopic level, about the formation of identity? Much has been written in contemporary academic discourse about ‘constructions,’ and especially about the construction of ‘identity,’ but not much has been written about how exactly the constructions are, for lack of a better term, constructed. In this book, I use karaoke performances to show how the missing ingredient in discourses about identity is a deeper understanding of performance itself: how performance acts construct categories of human identity. Furthermore, this book discusses issues at the forefront of contemporary culture: the intersection of technology and culture, our society’s fascination with celebrity, and the perceived notion that the new media is leading to a loss of community.

Beyond the ‘big three’ categories of identity, performances of identity extend to other categories as well, such as nationality, religion, age, and so on. Moreover, the performance of identity contributes to the formation of human agency and community. In addition to questions about the performance of identity, this book will discuss other issues that have emerged from this study. For example, what is the relationship between the performance of karaoke in America and the performance of karaoke in other countries, and particularly in the county of its origin, Japan? Are there variations of the performance of karaoke within regions or cultural geographies that create subcultures of karaoke performers? What is the relationship between karaoke and a postmodern, mediatized twenty-first century culture? What does the phenomenon of karaoke say about human nature? Why is karaoke so popular on a global and universal level? What functions does karaoke play in society? This book is an attempt to forge new tools that will help to answer these questions.

To find out how to buy the book please click here 


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Call for Papers: Drama Therapy Review

General Issue (2.2). Deadline: February 1st, 2016

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?
  • How does working with imagination, fiction, and metaphor differ from direct enactment?
  • What are the goals of drama therapy and who establishes these?
  • How do drama therapists understand and assess health, illness, and change?
  • When, where and for whom is drama therapy indicated?
  • What are the dominant narratives that inform our practice, pedagogy,and approaches to research?
  • How does dramatic improvisation increase well being or decrease specific kinds of distress?  
  • How do social differences influence research and practice in drama therapy?
  • How can children and other vulnerable groups be more involved in research about their own experiences in drama therapy?
  • What are the aesthetics of drama therapy?
  • What are the ethical and social 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

To submit work for consideration please download our submission guidelines or contact the editor, Nisha Sajnani:


Call for Papers Special Issue (3.1): The Influence of Robert Landy on the Field of Drama Therapy

Deadline: August 1, 2016. Guest Co-Editor: Maria Hodermarska

For this special issue, we invite articles that examine and illustrate the influence of Dr. Robert Landy on the field of drama therapy. In particular, we encourage studies that draw upon his role theory and method. 

Dr. Robert Landy is a Licensed Creative Arts Therapist (LCAT), a Registered Drama Therapist (RDT) and Board Certified Trainer (BCT). A pioneer in the profession of drama therapy, he founded the drama therapy program at New York University in 1984 and has lectured and trained professionals internationally. As a drama therapist, Landy has more than 35 years of clinical experience, having treated children and adults with a wide range of psychiatric, cognitive and adjustment challenges. He has worked in prisons, developing programs to treat mentally ill offenders, as well as the general population within New York State correctional facilities. 

As a researcher and writer, Landy has published and produced numerous books, articles, films and plays in the fields of drama, drama therapy, educational theatre, musical theatre and related topics. He has been featured in the media in the educational CBS-TV series Drama in Education, the award-winning documentary film, Standing Tall, and his own production, Three Approaches to Drama Therapy.Persona and Performance was one of the first full-length books to articulate a theory and method of drama therapy, focusing on a postmodern understanding of self as made up of a variety of roles chosen and given that might also point towards an effective action-based method for greater wellbeing.  His book The Couch and the Stage: Integrating Words and Action in Psychotherapy (2008) examined the relationship between psychotherapy and drama therapy, articulating a long history of action methods and embodiment being considered part of psychological healing. His book (with David Montgomery), Theatre for Change: Education, Social Action, Therapy (2012), examined the relationship between drama therapy and applied forms of theatre. Dr. Landy and his colleagues continue to innovate today with a groundbreaking series entitled “As Performance...” which, to date, has produced 22 original plays which illuminate the performative aspects of illness, recovery, identity and community. 

DTR welcomes contributions from a wide range of scholarly work including, but not limited to:  

  • quantitative and mixed method studies
  • qualitative analysis
  • arts-based practice as research
  • book and performance reviews
  • reports on innovative advances in the field
  • 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.

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OUTSIDEIN: The Ascendance of Street Art in Visual Culture

Jim Daichendt, editor of our journal Visual Inquiry is curating the exhibition OUTSIDEIN: The Ascendance of Street Art in Visual Culture occurring at the Williamson Gsllery on October 9, 2015 - January 10 2016.

To find more details please click on the link below.

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Short Film Studies 6.1

Intellect is delighted to announce the new issue of Short Film Studies (SFS) 6.1. This issue contains in-depth studies, director profiles, interviews and shot-by-shot breakdowns for two short films: Possum, directed by Brad McGann (New Zealand, 1997); and On Suffocation, directed by Jenifer Malmqvist (Sweden, 2013). To view the films, follow the links below:


On Suffocation [Password: Machine]

Click here  to access the whole issue. 

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Intellect prize for English

Intellect is delighted to announce that Jessica McComish has been awarded the Intellect Prize for English for her outstanding work for the BA English final year unit ‘Writing, Editing and Publishing’ at the University of Bournemouth. This is in association with the Intellect Academy and Studies in Comics.

The Intellect prize for English is awarded to the student with an outstanding overall grade on an individual final-year taught unit on our BA English course. The winning student will receive one year's annual subscription to a journal of their choice, and five Intellect books of their choice.

Bournemouth University's BA English is a unique and original approach to the study of literature that considers this subject in the context of today's surrounding multimedia culture and with reference to changing markets, audiences and formats. Assessment includes critical, practical and creative work across a diverse range of units that focus on literature, culture, and media. The course is thus well-suited to Intellect's subject areas and Intellect's catalogue of publications is a perfect fit for many of our final year options, which include: Space, Place and Environment; Media and Trauma; Transient Literature and Serial Storytelling;  Writing, Editing & Publishing; Fact and Fiction; New Media Narrative; Crime and Terror; Post-colonial Texts; Alternate Worlds; and News and Journalism.

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Fashion, Style & Popular Culture 3.1

Intellect is delighted to announce the new issue of Fashion, Style & Popular Culture 3.1. This special issue focuses on Latin American Fashion as they relate to popular culture. Articles explore a variety of themes from independent fashion design in Peru to Carlos Mérida’s illustrations. 

If you would like to subscribe to this journal please click on the link below.

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CALL FOR ARTICLES: Catalan Journal of Communication & Cultural Studies
Special Issue 8.1 (Spring 2016)
Special Issue: ‘The Spanish Civil War 80 years on: discourse, memory and the media’
Guest Editors: Ruth Sanz Sabido (Canterbury Christ Church University), Stuart Price (De Montfort University), and Laia Quílez Esteve (Rovira i Virgili University)
Deadline for contributions: – 15 October, 2015
The Catalan Journal of Communication & Cultural Studies invites submissions for a 2016 Special Issue that will mark the eightieth anniversary of the beginning of the Spanish Civil War, by presenting a collection of papers that represent the latest perspectives on the cultural, historical, regional, political, and social aspects of the Civil War and its legacy.
If it is true that ‘history is written by the victors’, the aftermath of the Spanish Civil War provides a textbook example of this tendency: the victorious Nationalists spent the following thirty-six years (1939-1975) trying to eliminate any remaining vestiges of those who had fought against them. For the losers, this meant in effect both a constant purge of any dissenting ideologies, and the physical persecution of anyone who was suspected of sympathising with the Republican cause. Furthermore, the ‘pact of silence’ that was agreed during the transition to democracy meant that the problems caused by the Civil War and the dictatorship remained unresolved long after Franco’s death, maintaining deep-rooted divisions in contemporary Spain.
It was only approximately thirty years after Franco’s death that the recovery of memory was promoted through social, political, and cultural means, so that the unheard voices of the past began to gain attention. However, this remains a highly contentious area, since the old struggles often re-emerge in contemporary political and socio-economic issues within the country. The Law of Historical Memory provides guidelines on several issues related to memory, from the exhumation of mass graves to the alteration of street names to eliminate references to agents of the dictatorship. However, the limited extent and application of this Law by the Government has led to the further polarisation of political perspectives (while
thousands of families are still looking for the graves of their relatives).
This Special Issue considers Memory as yet another site of struggle, a contemporary reenactment of the old divisions that are very much part of the country’s identity and which still permeate social, political and cultural life in contemporary Spain. The collection of articles will acknowledge the reproduction of these tensions, but will also offer a clear-sighted account of the conflict, grounded in a variety of historical and political discourses, oral testimonies, and analyses of media outputs.
Among other aspects, this issue is concerned with the ways in which children and
grandchildren of victims and survivors of the Spanish Civil War and Franco’s dictatorship relate to the memory of the repression, and to the development of the democratic transition. The examination of these issues from the perspective of generational memory involves several considerations, including the socialization of memory, the institutionalization and revision of the past, the connections between popular culture, media practices and representations, and the uses of memory through time in relation to the changes in the policies of remembrance.
We invite contributions from scholars, researchers and practitioners from around the world to submit full articles on topics that may include, but are not limited to, the following:
- Media representations of trauma and violence in the Civil War, Franco’s repression, the final years of the dictatorship and the transition
- The significance of the conflict in contemporary Spain
- Memory and the Civil War
- Postmemory and Civil War, Francoism and the Transition
- Collective identities (national and regional)
- The work of Memory Associations in Spain
- Women in the Civil War and beyond
- The struggle of anarchists and libertarian communists
- Constructions of ‘national’ (Spanish) memories and their national and regional significance
- Social perceptions of the Civil War, the dictatorship and the transition
- Using the past to look into the future
The journal plans to include articles between 6000 and 7000 words, as well as brief research notes and reports of around 3000 words for the Viewpoint section. Full articles for proposed contributions should be sent to by 15 October 2015. All contributions will be subjected to double blind peer review.


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