CFP: Journal of African Cinemas (Special Issue)

Call for papers: The Cinematic City: Desire, Form and the African Urban

(Special Issue​)​

Submission of abstracts: 30 September 2017

Submission of articles: 28 February 2018

This special issue of the Journal of African Cinemas seeks articles that address questions at the intersections of cinematic form and the African urban. We aim to examine the contribution of cinema and audiovisual media to our understanding and experience of contemporary cities from an African perspective. We also want to problematize the circulation of terms such as “Afropolitanism,” “Afro-polis” “Afro-modernity” and “Afro-urbanity”, which often define the kinds of sentiment invested in

or associated with the city in Africa. We are seeking articles that question whether these terms sufficiently evoke issues of specificity and materiality.

We also seek submissions that read the African city – and its diasporas – as form. The editors frame city and screenscapes as co-constitutive, foregrounding the diegetic and extra-diegetic elements that inform the “African urban” as a cinematic form. We are interested in articles situated within an interdisciplinary matrix that contribute to intellectual engagement with African cinemas through, among others,

affect theory and the city as a matrix of feeling; critical black geography and the racialized construction of city spaces; the urban as a temporal consciousness; and representations of social inequalities and urban geographies of exclusion.

This special issue aims to that unpack the broad affective, aesthetic and material dimensions of African visuality, spatiality and temporality in African and diasporic audiovisual media. We also welcome articles that engage with film manufacture, circulation and consumption. Papers may cover (but are not limited to) the following:

·      Genre and African film as visual and verbal narrative

·      Aesthetics and African cinema as an urban form

·      Space, place and the infrastructures of the African city

·      Black subjectivity and geographic boundedness of the African urban

·      Comparative analyses with other (visual) forms of representation

·      African cinema, social inequality and urban geographies of exclusion

All submissions should adhere to JAC guidelines:

Submissions should not be more to 8,000 words and should include a 200 word abstract and five keywords. The 8,000 words includes references, graphics and photos equivalent to 250 words each. The document(s) should be sent as Microsoft Word and/ or JPEG attachment(s) respectively. Prospective contributors should send an abstract (300 words) and short bio to Danai Mupotsa: and Polo Moji: by 30 September 2017.

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New issue of Journal of Contemporary Painting 4.1

Intellect is delighted to announce that the new issue of the Journal of Contemporary Painting (4.1) is now available.

This issue of JCP investigates painting within the context of the temporal.

Articles within this issue include (partial list):

Painting as event: An interview with Jacqueline Humphries

Authors: David Ryan

Page Start: 45

In this interview, New York-based painter Jacqueline Humphries talks about her recent practice in relation to the condition of time: this includes her own history as a practitioner, the role of gesture, the notion of the event, and contemporaneity. She addresses the appearance of ‘emojis’ in her recent work, and alludes to both literature and computer games as analogous modes of operation, each illuminating the inner workings of painterly process and its broader context within the contemporary.

The discursive array: Towards a politics of painting as time-space production

Authors: John Chilver

Page Start: 81

Modernist articulations of time in painting – based on phenomenological approaches – are not viable today. The adequate recipient of today’s accelerated information flows is more machinic than human: human perception is no longer adequate to technological temporalities. Painting ought now to approach time in registers other than the perceptual. Rejecting the terms of MoMA’s ‘The Forever Now’ exhibition, the argument turns to Buren’s notion of the in situ as a valuable attempt to re-think painting as time–space production. But Buren’s position is based on flaws in his ‘Function of the studio’ essay, and ends up supplying architectural decoration for urban redevelopment that is a far cry from his youthful ambitions. The text then considers conflations of in situ with discursive production in Gillick and Bourriaud. After a critical reading of Joselit’s ‘Painting beside itself’ essay, artworks by Merlin Carpenter, Jutta Koether and Lucy McKenzie are examined. McKenzie’s recent work devises fruitful tactics for interweaving affective opacities and discursive frames. McKenzie is able to play with rhetorics of in situ production without succumbing to reductive understandings of site and authenticity, and without conflating time–space production with discursive production. Such a discursive array can elaborate the dissonances between the discursive and the affective.

The viscosity of duration: Painterly surface and the phenomenology of time in the London paintings of Frank Auerbach

Authors: Anne Robinson

Page Start: 199

This article aims to examine our perceptions of temporality in painterly surface and investigate the relationship between subjective perceptions of temporality and emotional ‘affect’ in encounters with painting. Frank Auerbach’s London paintings are taken as examples of ‘painterly’ surface with which to consider the elastic temporality of painting. At the centre of this investigation are the engaged and embodied artist and the engaged spectator, encountering the ‘strangeness’ of painterly surface as an intense experience, offering an enhanced sense of lived temporality: both caught in a circuit defined by Merleau-Ponty: ‘For painters, the world will always be yet to be painted...’.

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Call for papers for the Journal of Dance & Somatic Practices 10.2


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Call for Papers

JAWS: Journal of Arts Writing by Students Volume 4 Issue 1

JAWS is the only academic arts journal run by and dedicated to postgraduate students (and those who have recently graduated). We have published work by students from India, China, Australia, North America, Canada and the United Kingdom, and maintain an international peer-review network.

What We Want:
  • Theoretical and discursive essays up to 5000 words.
  • Critical reviews of events, exhibitions or performances up to 3000 words.
  • Visual essays about art practice (demonstrating a research approach, and if possible responding to the journal format), including images or stills, plus up to 1000 words

All work must be prefaced with a 100 word abstract and 6–8 keywords, and followed by a short contributor biography. Please include your university affiliation, full name, course and year of graduation.

All work must use Harvard referencing, following Intellect House Style. For full submission guidelines please refer to

Deadline for submissions: Monday 20 November 2017.

Volume 1 Issue 1 is available for free at:
Our guest editorials from previous issues are also available for free, including those by Professor Arnold Aronson (Columbia University), Dr Sophie Hope (Birkbeck), Dr Inger Mewburn (the Thesis Whisperer) and Professor Joseph Heathcott (The New School of Design).
For all inquiries please email  or
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1st Edition of the Italian Film Festival!

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New issue of Dance, Movement and Spiritualities – out now!

Intellect is delighted to announce that the new issue of Dance, Movement & Spiritualities is now available.

The special issue of DMS focuses on ‘Global Journey’s of Sufi Whirling Sufism and Arts Practice.’

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

Articles within this issue include (partial list):

World as sacred stage for Sufi ritual: Performance, mobilization and making space with the act of whirling

Authors: Esra Cizmeci

Page Start: 199

This article examines the theoretical and applied relationship between Sufism and performance as embodied acts (including theatrical events comprising dance, theatre, music, praying and meditating and everyday life actions of semazens). I focus on how a Sufi devotee artist, Narin dede with his semazens have come to use performance as a medium for the mobilization of Sufi cultural beliefs and values. Performing their ritual movements as theatrical events outside of Sufi lodges, semazens seek to recognize and embrace world as a sacred stage in which every act is devotional and is embodied and practiced to move closer to God. The analysis of the connection between Sufism and performance shows how Sufism is more than a set of religious doctrines designed solely for Sufi devotion. The connection between Sufism and performance opens a lens through which devotees and non-devotees perceive Sufism’s relationship to different cultures, religions and art forms.

Transmodernity and the heart: The unique position of the semazen-artist

Authors: Hannah McClure

Page Start: 243

This article looks at Sufi whirling as both a sacred act and a purifying process that sorts, sifts and reconfigures the ego. The article highlights the necessity of our spiritual and religious practices to a transmodern effort. By a renegotiation of ritual, practice and doctrine, ingenious solutions for both personhood and collective thriving may arise. The semazen-artist, an initiate who walks in the worlds of both spiritual submission and commercial arts production, emerges at a moment in time to hold the past, literally within their body and living practice, while consciously engaging the present towards a reimagined universal reality.

A work of two registers: Mukabele, private and public

Authors: Mark James Hamilton

Page Start: 263

The Mevlevi sema, usually described as the dance of the whirling dervishes, can be understood to be both a private transformational passage and a public performance with theatrical dimensions. The exceptional commitment and effort that it requires evolves a participant’s deep focus towards one’s interior. At the same time, the commitment to welcoming guests as witnesses to the ceremony ensures that the practice remains connected to the wider world. What is created through the balance of these two dimensions? What is made possible by the ceremony’s dynamic relationship, in which the participants’ immersion in personal transformation contributes towards an aesthetic composition for onlookers? I explore these questions with reference to the propositions of Jerzy Grotowski, whose transcultural vision seeded my three decades of embodied practice as research and my arrival at participation in the Mevlevi sema in London.

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CFP: Journal of Interdisciplinary Voice Studies 3.2



GUEST EDITOR: YVON BONENFANT, Professor of Artistic Process, Voice and Extended Practices, University of Winchester

The Journal of Interdisciplinary Voice Studies invites submissions from scholars in a wide array of fields that intersect with, and/or move beyond, voice studies: such as: theatre and performance studies, musicology, sound studies, cultural studies, materiality studies, philosophical discourses, clinical voice studies, speech studies and voice and speech science to consider, and respond to, the questions in our below call.

We are interested in exploring emerging and exciting approaches to how we might synthesise knowledge from across the voice and sound studies field to address the below questions in interesting ways.


1.         Interested in the theme? Read the below context statement and questions, and consider sending us a draft article for peer review.

2.         We seek articles approximately 5000 words in length. However, we are open to articles longer or shorter – we will be making a final selection of articles using curatorial principles.

3.         The ‘Voicings’ section of JIVS allows for discourses that are more narrative, report-like, poetic, or experimental in nature. You can consider sending us alternative writing forms that would take us inside your response to this call. Consult back issues of the journal for examples.

4.         Send your article to: Yvon Bonenfant at

5.         Deadline for articles to reach us: September 30, 2017

As this call follows on from a symposium in January, 2017, we are aware there may be many more articles sent to us than this volume of JIVS can contain. Know that your article may be considered for future issues of JIVS, should it be of excellent quality, but not ‘map on’ to the thematics of this volume and its final curated format.



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Personal Style Blogs: Appearances that Fascinate by Rosie Findlay

The lastest book to be added to our Cultural & Media Studies subject areas is Personal Style Blogs: Apperances that Fascinate by Rosie Findlay. 

From Style Rookie to Style Bubble, personal style blogs exploded onto the scene in the mid-2000s giving voice to young and stylish writers who had their own unique take on the seasonal fashion cycle and how to curate an individual style within the shifting swirl of trends. Personal Style Blogs examies the history and rise of style blogging and looks closely at the relationship between bloggers and their (often anonymous) readers as well as the response of the fashion industry to style bloggers' amateur and often-unauthorized fashion reportage.

You can find out more information on this title and pre order a copy here.

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SFS at Encounters: Short Film & Animation Festival 2017

We are excited to be at the Encounters: 23rd Short Film & Animation Festival, between 19-24 September 2017 at The Watershed, Bristol.

A seminar is being held for the launch of the new issue of Short Film Studies on Wednesday 20 September at 12.30pm, at the The Watershed, Waterside 3. The issue is devoted to two recent short film masterpieces that have won numerous awards: Zepo (Spain, 2014, 3 min) directed by Cesar Diaz Melendez and Listen (Denmark/Finland, 2013, 13 min), directed by Rungano Nyoni and Hamy Ramezan.

For more information about this event, please click here.

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Critical Studies in Men's Fashion 4.2 – out now!

We are delighted to announce that the new issue of Critical Studies in Men’s Fashion (4.2) is now available.

This special issue of CSMF focusses on ‘Fashion as Art’.


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


Articles within this issue include (partial list):


’Till They See a Man in Spite of His Clothes’: Twentieth Century Media and Raymond Duncan

Authors: Megan Martinelli Campbell

Page Start: 113


Raymond Duncan (1874–1966) entered the twentieth century clothed in a Greek inspired dress influenced by the past, yet strikingly modern for his time. Duncan, a leader at his own self-sufficient art colonies in Paris and Nice, spent 62 years of his life dressed in the daily uniform of hand-woven tunics and leather sandals that he and his followers created for themselves. Duncan first adopted his social and gender-defying philhellenic costume in 1903, and coverage of Duncan and his companions’ dress in newspapers and other media outlets continued throughout his lifetime. This article explores Duncan’s defiance of social conventions via his clothing, and the evolving attitudes of the twentieth-century mindset, from scandalised shock at Duncan’s trouser-less appearance during the 1910s to bemused curiosity from the 1920s onwards. As a male artist travelling through cultural centres such as Paris, London, Berlin and New York during the twentieth century, the attention afforded by the western press to Duncan’s ‘draperies’, long hair and sandalled feet contributed to the artist’s notoriety and success, and revealed a gradually evolving social interpretation of bohemian dress, which, by the time of Duncan’s death in the late 1960s, approached understanding and acceptance.


Identity and imaginary: Rhetorics of menswear in literature and film

Authors: Kenneth M. Kambara and John Deming

Page Start: 153


We critically examine the use of menswear in literature and film as an expression of Weltanschauung, a view of the world by creatives in the literary and visual arts. While depictions and presentations of menswear serve as rhetorical devices in literature and film, this occurs within a sociocultural meaning system, where the creator not only captures elements of social realities but also serves to influence them. Our enquiry informs how taste is defined through the distinctions made in social processes involving cultural capital through creative production. This involves context-rich analyses of how menswear is used to craft identities and tropes embedded within a historicized imaginary that may have never even existed. Such an examination of menswear as an art form in media allows for a nuanced critical analysis of gender performativity and issues of trajectories of meanings over time. Our theoretical framework builds on the fashion system and cultural reproduction work of Roland Barthes and Pierre Bourdieu, respectively. We use several key case studies of twentieth-century authors and film projects to develop new theory that has implications for understanding menswear as an art form with societal significance, with implications for better understanding gender, identity, culture and the everyday praxis of individuals and institutions.


Gender fluidity in Men’s fashion: From Shakespeare’s modern English to the new millennium

Authors: Patti Jordan

Page Start: 171


This study explores how art, performance and the fluid construction of gender identities have significantly influenced men’s fashion over the trajectories of both time and place. Comparisons are made to the similarities and differences between everyday dress, and dress for performance. Studies of particular epochs indicate noteworthy changes in men’s fashion, such as sixteenth-century dress and costume in Shakespearean England, the nineteenth-century Aesthetic Movement, twentieth century counterculture and the new millennium. Emphasis is placed on the transformative development of New English, and how this linguistic trend, as well as the increase in world travel, may have augmented changes in men’s dress. Western fascination with eastern influences and emerging concepts of exotic dress during the nineteenth-century Aesthetic Movement to the present are noted. Other pivotal moments, such as the development of twentieth-century fashion subcultures, mirror specific contemporary shifts in men’s attitudes towards the construction of gender identity and fashion influence. Cross-analysis is introduced through visual and verbal linkages as well as diverse art genres so as to further examine men’s styling at decisive points in fashion history.


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