ADCHE 14.2, 'GLAD: Controversy and Conformity' Special Issue 

Intellect is delighted to announce that Art, Design & Communication in Higher Education 14.2 is now available. This special edition, edited by Jill Journeaux, Sally Wade and Tim Bolton, originated from the Group for Learning in Art and Design (GLAD) conference in 2015 held at Sheffield Hallam University, UK. The conference, Controversy and Conformity was both a celebration of the 25th anniversary of GLAD and an opportunity to reflect and learn from our experiences of art and design education, in order to develop strategies and practices for the future.

Inside this special issue:

25 years of the Group for Learning in Art and Design: A context, Jill Journeaux 

The bookbinding workshop: Making as collaborative pedagogic practice, Elizabeth Kealy-Morris

Curiosity over conformity: The Maker’s Palette – a case for hands-on learning, Sharon Blakey and Jane McFadyen 

Problem-finding as a research strategy connecting undergraduate learning with staff research in contemporary education institutions, Cathy Gale 

Undergraduate student involvement in Fashion and Textile research, Helen Burbidge

Paradox and potential: Fine Art employability and enterprise perspectives,  Katrine Hjelde 

Exploring evidence-based practice with external partners: Research development and the ADM - HEA northwest network,  Jill Fernie-Clarke and Barbara Thomas 

Graphic Design Educators’ Network: Re-establishing the purpose and value of a graphic design subject association, Justin BurnsJames CorazzoKirsten HardieRobert HarlandDarren Raven 

Reviews by  Dr Daniel Pryde-Jarman and  David Durling 

The full issue can be accessed here

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Call for Papers: Fashion Style and Popular Culture

From Native American headdresses worn by festival-goers at Coachella to Valentino’s recent Spring/Summer 2016 runway show inspired by ‘wild, tribal Africa’, cultural appropriation is rampant in western fashion. This issue of Fashion, Style & Popular Culture will examine, critique, and contextualize modes of appropriation in the fashion system through producers, consumers, indigenous communities and the media.

In the mid-aughts, debates around cultural appropriation moved into the blogosphere and popular press. The term ‘cultural appropriation’ has become the vernacular used to interpret and criticize contemporary fashions. While popular culture has finally acknowledged cultural appropriation in public discourse, Euro-American fashion has had a long-standing historical relationship to appropriation, exoticism, and the use of ‘the Other’ for design ‘inspiration’.Analysis of cultural appropriation, from both historical and contemporary perspectives, requires us to question power relationships, inequalities, and answer the ultimate question: who is benefitting and profiting from cultural appropriation?

Authors are invited to submit papers that explore the following:

• Cultural appropriation as design process

• Politics of design ‘inspiration’ and the creative process

• Commodification of cultural styles by the fashion industry

• Historical examples of cultural appropriation and intersections with power dynamics

• Political and economic implications of what does (and does not) get appropriated in

popular fashion

• Everyday appropriation, identity negotiation and ambivalence

• Intersections of race, gender, class, sexuality, and/or religion with appropriation in fashion

• Performativity, ambiguity, appropriation and the body

• Critical analysis of the debate between ‘cultural appropriation’ and ‘cultural appreciation’

• Media representations of cultural appropriation in the fashion industry

• Interface of economics and appropriation within the fashion industry

• Colonialism and power relationships as articulated through fashion

• Consumer response to cultural appropriation

• Legal aspects of cultural appropriation

• Political stakes and the scale of cultural appropriation in style and fashion

• Postmodernism and the impossibility of the unique

Manuscripts should be approximately 5000 words and prepared using the Intellect Journal House Style, which may be accessed at:

Deadline for 1–2 page abstract: 15 February 2016

Deadline for complete manuscript: 1 September 2016

Please send abstracts to: Denise Nicole Green ( and Susan B. Kaiser (

For questions regarding submissions or inquiries regarding the journal, Fashion, Style & Popular Culture, please contact Principal Editor, Joseph Hancock:

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Call for Papers: The Poster

This journal is a forum for the study of visual rhetoric in the public sphere; a place to discuss how and why visual messages are thrust into the world and the media forms used to do so. The Poster stands as a privileged symbol of visual rhetoric manifest in the world, and as such visual rhetoric is at the heart of this journal.


Articles should be provided as MS Word files with low-resolution images (72dpi) included in the text at the intended positions in the text: full print resolution images will be called for later. You can send us both colour and greyscale images. Please help us out by using the Heading 1 (H1, H2, H3) and Text Body styles in the first instance as this, and the indication of position of the images, helps us enormously in the editing and production of the final document. Papers should be between 5000 and 8000 words long. Once a paper is accepted we’ll ask for the full resolution images.

Visual contributions

These contributions must make an explicable narrative point. They should be presented, in the first instance, as low-resolution .jpg or .png files (72 dpi), numbered in the order in which they should be read (if ambiguity is the intent please help us out by sending us a visual that explains their intended organisation). Please include (as either metadata or on an accompanying list) details of copyright, authorship and ownership.


Reviews should be between 1000 and 2000 words long and if they carry images or excerpts of the reviewed material should be copyright cleared with the author or the owners of the intellectual copyright. Please send all journal submissions to the editor Simon Downs at

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Clothing Cultures 3.1

Intellect is delighted to announce the new release of Clothing Cultures 3.1. This journal brings together discourses pertinent to the study of dress practices, and the latest issue is a special issue on public and private Dress featuring various articles and an exhibition review.

List of articles (partial list):

For the full list of articles click here

‘Photographed at the Royal Festival Hall’ ... discursive constructions of dress, time and space in post-war British fashion media 
pp. 7-22(16) 
Author: McDowell, Felice

This article discusses how the Royal Festival Hall (RFH) was featured as a location in editorial photo-spreads published in British fashion periodicals Vogue and Harper’s Bazaar throughout 1952.

Experiential luxury shopping at the Louis Vuitton Flagship in Paris: Dramas of identity 
pp. 23-40(18) 
Author: Manlow, Veronica
This is an ethnographic field study including observations, interviews and analysis of responses of twenty shoppers at the Louis Vuitton flagship on the Champs-Élysées in Paris. The purpose is to outline the dimensions of the luxury shopping experience that distinguish it from hedonic shopping in other contexts.

Hungarian women toe the line: How Communist propaganda parallels corporate advertising 
pp. 41-54(14) 
Author: Medvedev, Katalin

This article suggests that fashion communication, especially fashion advertising, is a form of propaganda, and that propaganda is sometimes disguised as a form of sartorial communication.

Thirty centimetres above the ground: The regulation length for Greek skirts during the dictatorship of General Theodoros Pangalos, 1925–19261 
pp. 55-65(11) 
Authors: Pichou, Myrsini; Kapartziani, Chrysoula

In Greece, the General Theodoros Pangalos during his dictatorship (1925–1926) applied a regulation in order to control the length of women’s skirts. This article looks at the reasons behind this regulation and it’s effects on society.

Wool you wear it? – Woollen garments in Norway and the United Kingdom 
pp. 67-84(18) 
Authors: Hebrok, Marie; Klepp, Ingun G.; Turney, Joanne

The article will compare consumer perceptions, attitudes, practices and knowledge concerning wool as a material and as garments in Norway and in the United Kingdom, through a case study of wardrobes owned by six middle-class families. 

To find out more about the journal click here or email 

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The Journal of Short Film

The Journal of Short Film is pleased to announce the immediate release of Volume 35 on DVD.  The Journal of Short Film is a not for profit peer reviewed publication that is devoted to the distribution of the underrepresented medium of short film.  To date the Journal of Short Film has published and distributed close to 300 films from a completely free submissions process.

JSF 35 features submissions that came from the UK, although it does not make any claims to being representative in any particular way. In fact, rather than by capturing any special national element, the works gathered here impressed us with the breadth of their interests internationally and the fine feeling for the particular regionally.  What unites them all is an exceptional sense for people’s character as it displays and shapes itself in relation to others: in the family, in the workplace, in the chaotic concentration of the marketplace and the transient moments of public transit, and in the abstract relations generated by the medium itself.

Find out more here


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Journal of Curatorial Studies: Reception and Launch

The editors of the Journal of Curatorial Studies invite you to celebrate the publication of three recent issues: "Latin American Curating and Exhibitions" (3.2+3), "China: Exhibitions and Display Culture" (4.1), and the newest open issue (4.2). Accompanying the launch will be underpressure, a screening of videos and a photo/audio project that provide a glimpse into the diversity of topics and sites examined in the Journal of Curatorial Studies. Refreshments will be served.

Artists: David Bates Jr., Maurice Benayoun, Björk, Christof Migone, Alessandro Rolandi, Santiago Sierra

November 12, 7:00-9:00 pm

Trinity Square Video, 401 Richmond Street, Suite 376, Toronto

The Journal of Curatorial Studies is a peer-reviewed publication that explores the increasing relevance of curating and exhibitions and their impact on institutions, audiences, aesthetics and display culture.,id=205/

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Read an extract from Shooting Women

Intellect is delighted to offer a free extract from our latest release, Shooting Women. We hope you enjoy reading it!

Today, almost anyone who can beg, borrow, buy, or steal a camera can learn how to operate it up to a point, given sufficient determination, with or without formal training. “The lower cost of high quality camera choices has made cameras, videos, and photography a huge part of our lives,” Jendra Jarnagin observes, “and a major component of how everyone communicates, whether they are a professional or not.” It has also made it easier for people to teach themselves how to use a camera.

You can experiment and immediately see the results and learn from your failures. I grew up shooting film; it was expensive to experiment, so the learning curve was much slower. Now you can just mess around with your frame rates and shutter speeds and play it back on the spot and adjust accordingly. It can make for more bold techniques because you aren’t afraid of failure.

How does one become a professional? There were obviously no film schools in the 1890s when public screenings of films began around the world. Early equipment was simple; learning the basics wasn’t an obstacle, yet women rarely operated the camera in cinema’s early decades. Among the exceptions, though, are Margery Ordway, who worked in 1916 as a “regular, professional, licensed, union crank-turner” for the Hollywood feature Her Father’s Son (William Desmond Taylor); its DP, Howard Scott, was a founding member of the Society of Cinematographers (“This is the New Fall Style”). Elsewhere during the 1920s Louise Lowell was also claimed as “the first and only camera-maid in the world”; she studied aviation and became an aerial camerawoman for Fox Movietone News (“The First Camera-Maid”).

Around the world, most camerapeople learned on the job until relatively recently. Academy Award-winner Haskell Wexler, ASC, didn’t go to film school, but having a little mentoring made a big difference professionally. Wexler had shot 16mm family movies: “Not only shot them, but cut them, and put titles on them and all that stuff.” When he first started shooting, he learned by trial and error, and began shooting film for pay around 1947. Working professionally as an assistant in Chicago, Wexler was offered a job to shoot with a Mitchell Camera.

They asked me, “Can you shoot with a Mitchell?” I said, “Yes.” “Do you know macro photography?” I said, “Of course.” So I went to the library and read up on what macro photography meant. Val O’Malley, who worked at Wilding Studios, said, “I’ll help you. This is how you thread a Mitchell, a standard Mitchell.” He spent a couple of hours with me, and I got the job. I’ll never forget Val O’Malley.

Wexler has mentored many camerawomen, offering technical information, providing hours of work so women could join the union, and championing the cause of camerawomen generally.

Many women have learned on the job from male mentors. Lisa Rinzler says that after New York University (NYU) she worked briefly as a production assistant, immediately shifting to electric work and then camera assisting. She had a wonderful, unofficial mentor named Fred Murphy, who was a “terrific DP” and “a beautiful human being.” He taught Rinzler how to work under the pressures of a set. “I don’t think I light the way Fred lights, but on my first job he had me diagram his lighting for a movie he was shooting. I think I was working for free. None of that mattered: it was a fantastic opportunity to do drawings of someone’s lightingstyle. I was completely fascinated.”

American Madelyn Most trained at the London Film School and by working alongside Oscar-winning cinematographer John Alcott, BSC, who was DP on Stanley Kubrick’s films. Most said that if she asked Alcott a question, he would explain in detail for hours until she understood.

Shooting Women is now available to buy here


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