#Marilyneveryday: The persistence of Marilyn Monroe as a cultural icon
Intellect is delighted to announce the new special issue of Film, Fashion & Consumption 4.2&3, on #Marilyneveryday: The persistence of Marilyn Monroe as a cultural icon guest edited by Lucy Bolton will be available soon! This issue includes interviews with the British Film Institute and the National Portrait Gallery on Curating Marilyn.
Articles inluded in this issue are: Trashing Marilyn: Reflections of a metabiographer by Sarah Churchwell, Marilyn and her female audiences: Consumption,transgression, emulation by Pamela Church Gibson and Ghostlythreads: Painting Marilyn Monroe's white dress by Cathy Lomax.
This issue includes exclusive interviews with the BFI and National Portrait Gallery.
More information here
Intellect is delighted to announce the new issue of JAWS 2.1 is now available to purchase.
Articles included in this issue are: Feminist Aesthetics: Representing women in contemporary Chinese art by Su yang, 'That b**** ruined my catwalk': FEMEN, Fashion Week and the female perspective by Leah Dungay and An Architecture of resistance by Helen Brewer
More information on this journal can be found here
Cindy Sherman’s ‘Office Killer’ had a rare screening at New York’s Film Forum festival on Saturday 4th June. Dahlia Schweitzer, author of ‘Cindy Sherman’s Office Killer: Another Kind of Monster’ was at the festival to introduce the screening along with Cindy Sherman. Here are here reflections of the event:
Almost two decades ago, I saw a little movie called Office Killer. When I say “little,” I don’t mean that it lacked style or attitude or impact. When I say “little,” I mean that it only grossed $76,000. By no means should this paltry sum indicate empty theaters, Molly Ringwald and Carol Kane and Jeanne Tripplehorn performing for miniscule ticket sales. Rather, the movie had no chance to make money because Miramax bought it and buried it – and buried it has remained to this day.
Until last Saturday, June 4th , when New York’s Film Forum theater screened Office Killer as part of a festival of female-directed films. Office Killer does not just star a lot of women, it was directed by the influential American photographer Cindy Sherman, as well.
All of which is to explain why Cindy Sherman and I hosted last Saturday’s screening.Cindy, because she directed the movie, and I, because I wrote the book. Cindy Sherman’s Office Killer: Another Kind of Monster, as I mentioned in my introduction to the film, is not just the definitive book about the movie, it’s the only book on the movie.
For whatever reason (and I speculate, in the book, about why), Miramax buried the movie, and it stayed that way, ignored despite the tremendous volume of text devoted to Sherman’s photographs. The popular refrain (and I heard it, over and over, at the Forum) was, “I had no idea this movie existed.”
In our digital media saturated life, when Netflix offers countless options, matched only by the trifecta of Amazon, Hulu, and actual television, it is easy for things to get lost. Which is why it was so fantastic for me to watch Office Killer in glorious 35mm in a sold out screening last Saturday, to hear the squeals and laughs and applause for which Office Killer is long overdue. And which is why I’m delighted that the Broad’s museum latest show, “Cindy Sherman: Imitation of Life,” includes the film, right alongside her photographs, where it belongs.
And there’s my book, in Broad gift shop, surrounded by all the books about her photographs, just as equally part of the conversation.
As a new pathway focusing on the Public Sphere launches as part of the School of Fine Art’s Contemporary Art Practice programme, Royal College of Art Blog talks to Dr Mel Jordan, Reader in Art and the Public Sphere at RCA and leader of the new Public Sphere MA pathway, which addresses the changing debates around public art and the public realm. Dr Jordan is the principal editor of Intellect's journal Art & the Public Sphere.
To read the interview 'Borders are for Crossing' follow this link:
At a time when technology routinely alters audiovisual media at the levels of production, distribution and reception, this theme issue of The Soundtrack will consider the impact of the digital landscape on the various relationships between sound, music and moving images. The issue aims to bring together scholars and practitioners with expertise in sound studies, digital media and music, in order to explore topics such as: tech-influenced developments in the music video, the emergence of the ‘visual album’ format, and sound quality on streaming platforms and in virtual reality and reworked media.
For example, how does the recent popularity of lip-syncing as entertainment fit with previous models of audiovisual synchronisation? Does this trend, which includes viral YouTube videos and the show /Lip Sync Battle/ (2015—), complicate previous scholarship on the relationship between the voice and the body on the soundtrack, such as Rick Altman’s (1980) analysis of ‘cinema as ventriloquism’? What is the sonic impact of the shift towards consuming moving image media on sites such as Netflix, and using laptops and portable devices? How have technological developments facilitated a new wave of music videos; such as Björk’s 360-degree virtual reality video for ‘Stonemilker’ (2015)? And why, in the words of Sony Interactive’s audio director, Garry Taylor, can badly implemented audio ‘seriously hinder people’s acceptance of their virtual reality’?
Reflecting on these changes, articles will ideally reassess the relevance of conclusions previously drawn about the links between sound, music and moving images, while using broader theories of technology and digital culture to develop modified approaches for analysing these links. Authors are welcome to generate their own research topic, although submissions which address the following subjects are particularly encouraged:
New trends in audiovisual synchronisation
New developments in the music video
The relationship between ‘visual albums’ and cinema
Sound and digital streaming
Sound and reworked media, such as audiovisual essays
Sound and virtual reality
Please send abstracts of 300-400 words and a short bio to guest editor,
Jennifer O’Meara, at firstname.lastname@example.org
mailto:email@example.com>by August 10th 2016.
Expressions of interest and inquiries regarding potential topics are also welcome.
Full articles should be 6,000-8,000 words in length.
About The Soundtrack:
The Soundtrack is a peer-reviewed journal published by Intellect. Multi-disciplinary in nature, the journal brings together research in the area of music and sound in relation to film and other moving image media.
Deadline for receipt of abstracts: August 10^th 2016
Applicants notified: August 24^th 2016
Full articles due: November 2016
Final articles due: April/May 2017
Special Issue: Dance, Spiritualities and Phenomenology
Intellect is delighted to announce the new special issue of Dance, Movement and Spiritualities 2.2, on Dance, Spirituality and Phenomenology.
Articles within this issue include: 'Learning to let go: Phenomenologically exploring the experience of a grip and release in salsa dance and everyday life' by Rebecca J. Lloyd and 'Phenomenologies in The Flowing Live Present' by Sondra Fraleigh
If you have any questions about the journal click here
Intellect is delighted to announce that the first book in the Mediated Cities Series is now available to purchase from our website.
For more information on this title please click here
Intellect is delighted to announce the new issue of Asian Cinema 26.2 including research articles, interviews, book and film reviews and bibliographies – on all forms and aspects of Asian cinema.
Articles in this issue include: Pain and pleasures of the look: The female gaze in Malaysian horror film by Alicia Izharuddi and Sake, sex and gore: The Japanese zombie film and cult cinema by Kayleigh Murphy
For more information on this title please click here
Editor of the Journal of Italian Cinema & Media Studies
Flavia Laviosa was honoured at the Italy’s presidential palace in Rome. The event marked the 60th anniversary of the David di Donatello Awards (1956-2016). Laviosa was recognized for the special issue of the Journal of Italian Cinema and Media Studies (Vol. 4:2, 2016), which was dedicated to the historic and artistic celebrations of this anniversary with testimonials, reflections and interviews.
To recognize her contribution to the academic study of Italian film and media, Laviosa was invited to this year’s awards ceremony in Rome on 18 April. Prior to the evening awards, she attended a solemn ceremony in the morning followed by a reception, both at the Quirinale Palace. Here she met Italy’s President Sergio Mattarella. He congratulated her for promoting Italian cinema in the world with this academic publication. He also expressed his admiration for the journal’s distinguished contribution to Italian culture and art. ‘The encounter with President Mattarella was warm, cordial and inspiring, as were his words of recognition for my work as the founder and principal editor of the journal’ Laviosa reported.
The event also led to another honour for Laviosa. During a conversation with Roberto Cicutto, the President of the Istituto Luce-Cinecittà, she was invited to present the journal to artists, producers, film critics and the media at the 69th edition of the Cannes Film Festival on 18 May, as part of the Italian Cinema Section. Her work on the journal will also take her to Seoul, South Korea. She will lecture there and will formally present the journal at the 8th edition of their Italian Film Festival in October. Such a global reach for the journal is part of its mission, to articulate a ‘multifaceted definition of Italian cinema, transcending geo-ethnic land and sea borders and moving away from merely celebratory local cinematic experiences’.