Theatre for Children in Hospital featured in Lancaster University Steps Magazine

Persephone Sextou has been featured as the Alumni Talk for Lancaster University Steps Magazine. Read the article about her work and the recent book, Theatre for Children in Hospital at the link below:

Theatre for Children in Hospital: The Gift of Compassion is available here .

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New issue of Philosophy of Photography 7.1-2

Intellect is delighted to announce the new issue of Philosophy of Photography 7.1-2 is now available. 

For more information about this issue, please click here or email


Articles in this issue include (partial list):


Visibility and realism: Photography and the problems of transparency

Authors: Duncan Wooldridge

Page Start: 11


Photography’s initial claim to represent has been derived from a privileging of the visible world, which, it might be argued, is reinforced by the limited visibility of the camera. The proliferations of utilitarian photographies, therefore, are necessarily also the elimination of the non-visible. Such a notion of visibility, when contested, might provide the starting point for a reconception of the photographic in which the apparently indexical medium is filtered through alternative relationships to representation, transparency and, ultimately, even the discourse of realism. This article proposes that an alternative conception of realism might sceptically underline the limitation of the photographic apparatus in relating to but also limiting the world.


Akeley inside the elephant: Trajectory of a taxidermic image

Authors: Bernd Behr

Page Start: 43


As a process distinct from its poured cousin, sprayed concrete involves using compressed air to propel cement with various chemical admixtures at a surface. Used in tunnelling for rock surface stabilization, and above ground for securing slopes and fabricating fake rockeries, its chimeric character ranges from the polished landscapes of skateparks and swimming pools to mimicking cast concrete in structural repair work. The origins of this industrial process lie with taxidermist Carl E. Akeley (1864–1926), who invented it during his pioneering work in the proto-photographic field of natural habitat dioramas at the Chicago Field Museum in 1907. Further cementing André Bazin’s notion of photography as embalmment, Akeley also invented a unique 35mm cine camera during his time at the American Museum of Natural History, New York. The essay explores this historical intersection between photography, taxidermy and architecture, and its wider implications for thinking through photography’s material contingency.


What is twenty-first century photography?

Authors: Daniel Rubinstein

Page Start: 155


In the twentieth-century photography was the de-facto face of representation, as the visual arm of an industrial society that thought to reproduce the world as commodity for the consumption by individuals. However, in the twenty-first century this logic of mechanical reproduction is augmented by the (fuzzy) logic of algorithmic processing, which does not require individuals and commodities for its operation, but converts both to packets of data. The task of photography today is not to represent the world as an image, but to explore the conditions that make something like an ‘image’ possible.

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Intellect Fashion Collection Competition!

We are once again running our competition to win a year’s online subscription for your institution’s library to our Fashion Collection of nine journals. 

The collection provides permanent access to the 2017 volumes and back volume access for all titles for one year. For more information about the journals included in the collection, click here.


Please email for a form to enter the competition before 15th March 2017.

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Library Journal review of The Artist as Culture Producer Edited by Sharon Louden

We recevied a wonderful review of Sharon Louden's soon to be released new title The Artist as Culture Producer: Living and Sustaining a Creative Life.

“In this book’s preface, editor, multimedia creator, and author (Living and Sustaining a Creative Life) Louden describes artists as ‘extending creative energies’ into their communities. True, but it’s the subtitle that characterizes this informative volume and continues the efforts of her first book: it’s a collection of essays by artists who, in their own words, explain how they chose their careers and how they've survived and thrived, creatively and financially. The life stories told here are by visual or cross-disciplinary artists working in a range of media (painting, photography, sculpture, mixed media). Most of them also pursue related occupations (writing, teaching, curating, running galleries). This titleis a welcome alternative to so much of the general interest writing on art and artists’ lives, which tends to focus on attention-grabbing topics such as multimillion-dollar auction sales, celebrity gossip, or tragedy. The essays steer clear of literary flourishes and artspeak, offering straightforward descriptions of each individual’s struggles as they navigated life and career paths. Recommended for students and aspiring artists who hunger for this kind of real-life experience, advice, and wisdom, and for those in organizations that work with them.”—Michael Dashkin, Library Journal

This title is currently available to pre order, more information click here.


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Q&A with Camilla Møhring Reestorff from Culture War

1. Could you describe this book in a few words?

This book concerns art activists and politicians’ use of affective cultural politics in their negotiation of the national symbolic in the Danish culture war.

2. Were there any challenges you face whilst writing this title?

The difficulty of writing on culture wars is that the topic develops rapidly. Immigration policies are, for instance, strengthened and the emphasis on national identity and borders is amplified – not only in Denmark, but also in other European countries, the US and Australia. Due to the rapid development the challenge is to keep up with the continuous changes in the culture wars.


Another difficulty of writing on culture wars is that they are not limited to the traditional institutional political system. This is a challenge because it requires an understanding not only of the different kinds of participants that make up culture wars, but also their mediatised practices. This is also a challenge because it requires a transdisciplinary approach.


After I submitted the book, the so-called “refugee crisis” caused by the humanitarian catastrophe in Syria resulted in further restrictions in the Danish immigration policies and in a border control that challenged the Schengen Agreement. I felt that it was necessary to reflect this development in the book, and luckily Intellect agreed and allowed me to add an extra chapter. This made it possible to investigate how both tepid nationalism and art activism influence the ways in which the refugee crisis is articulated on social media.


3. How did you first become interested in culture war and art activism?

My interest in culture war and art activism began quite early. When I was a student in primary school the teachers were always accused of left-wing indoctrination. Furthermore, my father was born in Germany and I was therefore often called ‘sausage-German’. This meant that I had an awareness of the on-going struggle to define the national symbolic – for instance in terms of identity and curriculum. Later, around the turn of the century, the Prime Minster launched his culture war against what he called “left-wing arbiters of taste” and the “Culture canon” was made to signify Danish culture and identity. Several of the artists on the culture canon protested. I was intrigued by the clashes between artists and politicians and began to study what happens when politicians use art and culture and how artists and art activist resists and protests certain national frameworks.


4. What did you enjoy most when writing this book?

Sometimes the study of politics and affect, especially on social media, can be exhausting because it often contains intense outburst of anger – especially when the topic is culture wars and issues of national identity and immigration. Nevertheless, it is academically rewarding to find the logics that motivate political participation and affective intensifications. Furthermore, by writing this book I became aware of the multiple interpretations of the national symbolic and of the many different participants, including art activists, who in various ways engage in politics. Finally, at the end of the writing process, I was truly happy that many art activists agreed to be represented in the books’ intermezzos and contribute to the book’s visual representation of art activism in the culture war.


5. How do you think this subject / research area will develop over the coming years?

The development of national and international politics will only contribute to intensify culture wars in Denmark and internationally. There is an increasing tendency, not only in Denmark, to understand citizenship, national identity and culture as tied to the non-immigrant population – a notion that is conflictual in a world characterised by global connectivity. This will also lead to an increase in art activism that opposes specific policies and attempt to visualise and affectively intensify relations and communities that are not tied to the nation state.


The development of the subject area will most likely lead to an increase in research that studies new types of nationalism and the kind of affective cultural politics that this book has outlined. It is necessary to continue researching the importance of affective cultural politics in a political climate increasingly characterised by communication that concerns facts less than affects. Likewise research will have to come to terms with the multiple ways in which art activism navigate counteract and utilise affective cultural politics.


For more information about Culture War: Affective Cultural Politics, Tepid Nationalism and Art Activism, please click here.


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Winner of the 2016 Film Matters Masoud Yazdani Award for Excellence in Undergraduate Film Scholarship announced

Each year, Film Matters honours Masoud Yasdani, founding chairman of Intellect and all-around visionary who is very much missed, by recognizing an emerging undergraduate film scholar who has published a feature article in Film Matters the previous volume year. The winning author, selected by three individual academics based at institutions of higher education worldwide, receives a book from the field of film studies, in recognition of his/her achievement. 


Intellect is delighted to announce the winner of the Film Matters second annual Masoud Yazdani Award, Nace Zavrl, for his FM 6.3 (2015) article, “Spectatorship and Synchronous Sound Before the Transition: A Contextual Analysis of Chronophone, Phonofilm, and Movietone Shorts.”


Nace will be receiving a cope of Miriam Hansen’s Babel and Babylon: Spectatorship on American Silent Film, published by Harvard University Press in 1994.


Upon the release of Film Matters 7.3 (2016), judging for the 2017 award will begin. All volume 7 (2016) feature article authors will automatically be considered for this distinction.


For more information about this award, please click here.

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New issue of Scene 4.2 is now available!

Intellect is delighted to announce the new issue of Scene 4.2 is now available.  

For more information about this issue, click here or email


Articles in this issue include (partial list):


Embracing the diversity of European national identities: The nation as part of the collective European whole

Authors: Rhian Collings

Page Start: 99


Drawing on the work of European thinkers such as Zygmunt Bauman, Jürgen Habermas, Jacques Derrida, Roberto Dainotto, Amin Maalouf and E. J. Hobsbawm, this article will demonstrate to what extent all four authors show their readers that the importance given to national borders can be subverted through the motion of travel, in which these arbitrary lines on the map are crossed by the travellers in question. In accordance with the renowned pacifist Romain Rolland – who believed that national and European identity were not ‘mutually exclusive’ affinities – these four authors use their narratives to promote a sense of European or supranational identity, by urging their readership to rethink their relationship with their nation as part of a collective European whole, and to perceive diversity as being not Europe’s weakness, but rather its greatest strength. The author demonstrates how it is through valuable cultural productions such as these narratives of travel that Europeans are exposed to an alternative and more inclusive mode for identity construction, which triumphantly forwards what Ulrich Beck describes as ‘a Europe that helps diversity to flourish’.


Setting variables: Axes of time, space and meaning in production design for the screen

Authors: Piers D. Britton

Page Start: 117


Firstly, this article addresses the commonalities between production design for film and television, in terms of what and how design signifies. Secondly, it explores differences in the semiotic potential of design for the two media. The author argues that what design most securely signifies is genre, and offers a qualified endorsement of the frequent claim that design indexes narrative mood and tone. Design imagery establishes both mood and generic affiliation by calling upon viewers’ tendency to interpret new stimuli in relation to established standards. In other words, design satisfies primarily in terms of its perceived ‘rightness’, in relation either to genre precedent or more nebulous benchmarks such as realism.

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Special Issue of Journal of Scandinavian Cinema 6.2

Intellect is thrilled to announce the new issue of Journal of Scandinavian Cinema 6.2 is now available.  

For more information about this issue, please click here or email


This Special Issue focuses on contemporary Scandinavian documentary cinema. Guest Editors Ilona Hongisto and Malin Wahlberg present a collection of contemporary scholarship that illuminates Scandinavian documentary cinema through meticulous case studies, while also addressing the broader notions of belonging, identity and, ‘Scandinavia’ in relation to film production, distribution and the politics of media practice and cultural memory.


Articles in the issue include (partial list):


Can catalogues be dangerous? The anti-catalogue of FilmCentrum

Authors: Stefan Ramstedt

Page Start: 101


This article offers a survey of the film distribution of FilmCentrum during the first years of the organization. Like the catalogues of other film cooperatives that were working with distribution, FilmCentrum’s was open, which meant that the organization accepted all submitted films. This openness is discussed at length, both in terms of the discourses around it and the controversies that it aroused, but also as a form of democratization of the film distribution. The notion of the open catalogue is also put into the context of a larger counter-cultural movement and connected to the notion of the anti-catalogue. The film distribution of FilmCentrum is also placed in the context of the history of Swedish cinema.


Contemporary experimental feminist Sámi documentary: The first person politics of Liselotte Wajstedt and Elle-Máijá Tailfeathers

Authors: Scott MacKenzie and Anna Westerståhl Stenport

Page Start: 169


This article examines two experimental documentary feminist Sámi films by Liselotte Wajstedt and Elle-Máijá Tailfeathers. Their works deploy experimental techniques such as cell and computer animation, time-lapse photography and superimposition, along with autobiographical voice-overs, thereby challenging many dominant tropes of Sámi filmmaking, including the preponderance of realism and cultural revivalist narratives. Through ‘first person’ filmmaking, Wajstedt’s Sami Daughter Yoik (2007) and Tailfeathers’ Rebel (2014) and Colonial Gaze Sámi Artists’ Collective (co-directed with Nango, 2012) explore the hybridity of identity, trauma, cultural memory and the status of documentary films as artistic practice. The films are situated within larger recent developments in Sámi filmmaking, including initiatives by the International Sámi Film Institute. This article reframes the perimeters of both Sámi and Scandinavian documentary filmmaking in the twenty-first century.


Expanded epistemologies: Animation meets live action in contemporary Swedish documentary film

Authors: Johnathan Rozenkrantz

Page Start: 189


This short subject studies configurations of animation and live action in contemporary Swedish documentary film. While digitization has challenged the indexical image’s verifying function, animation has been elevated to the level of legitimate document. The epistemological boundaries of documentary film have consequently been expanded, and now include the inner worlds of social subjects. In Gömd (Hidden) (Heilborn and Aronowitsch, 2002), animation and live action are repeatedly juxtaposed in order to visualize a refugee child’s experienced Otherness. In Still Born (Sandzén, 2014), ultrasound footage is fused with digital film and animation to manifest the merging perspectives of a mourning mother and her aborted child.

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New issue of Maska: The Performing Arts Journal 31.179-180

Intellect is delighted to announce the new issue of Maska: The Performing Arts Journal 179-180 is now available.  

For more information about this issue, please click here or email


Articles in this issue include (partial list):


Actor and Puppet on the Contemporary Stage

Authors: Didier Plassard

Page Start: 8


The article discusses the changes in puppetry that occurred mostly in the second half of the 20th century. It addresses the changes in organization that led from small family groups to institutionalized public institutions and follows the organizational example of ensembles of drama theatre institutions, as well as changes in the relationship between the animator and the puppet that allow the disillusioning emergence of the animator into the visual field of the viewer. The “manipulator” who is no longer hidden influences the change in the manner of narration, in the aesthetic and the political senses both; at the same time, the qualitative difference between the manipulator as a living, physical and human being and the puppet on the other side is suddenly revealed. The article concludes by addressing the ethical dimension in the puppet theatre as it stresses the understanding of the puppet as the face of the other whose life is the responsibility of the human being. The article carries out its instructive review and theses with the help of several illustrative examples.


‘Man’ as X-Foucault, Kant and their doublets

Authors: Stefan Apostolou-Hölscher

Page Start: 18


The concept of ‘man’ is introduced by Michel Foucault in the context of a discursive formation that, for him, emerges toward the end of the 18th century, following the epistemes of the Renaissance and Classical periods, which, by way of contrast, had foregrounded similarity and representation as ordering principles. Instead of a guaranteed correspondence between the subject and the object of thought, the modern era is concerned with the finitude of concrete ‘human beings’ in their relation to an abstract ‘humanity’, and asks under what conditions is a correlation of a subject with its objects possible in experience.

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Art & the Public Sphere 5.2 - out now!

Intellect is delighted to announce Art & the Public Sphere 5.2 is now available.


This special issue looks at the proliferation of large-scale exhibitions worldwide which has also led them to become increasingly sites for conflicts and controversies, but in new ways that have not been public before. 


For more information about this issue, please click here or email


Articles in this issue include (partial list):


Ghetto Biennale 2015: Contested creativities in Haiti’s Ghetto Biennale

Authors: Peter Haffner

Page Start: 115


In the latest iteration of the event, the organisers of and participants in Haiti’s Fourth Ghetto Biennale have attempted to identify, address and rectify some of the major issues at stake, including concerns related to cross-cultural artistic agency, themes of disaster and crisis, the tourist ‘gaze’, and Haitian art history. By examining four of the arts projects executed during the two-week event in downtown Port-au-Prince, this article analyses the shifts and adjustments between the Second Ghetto Biennale in 2011 and the fourth in 2015, and how the biennale’s artists and curators have attempted to address and account for points of contestation.


Notes towards the critical biennale

Authors: Dave Beech

Page Start: 167


The periodic large-scale exhibition can be uncritical or critical, but it is essential to understand, when it is critical, where its critical agency is located. An exhibition of critical artworks is not necessarily the same as an exhibition consisting of works by critical artists, and an exhibition organised by a critical curator does not necessarily consist of critical works or critical artists. Indeed, the critical agency of the critical curator may be antagonistic to the critical artist. As such, this essay considers the location of criticality within the structure of the biennale itself rather than locating critical agency within the critical artist or critical curator.

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