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thinking in colour / spring 2008
In this issue:
DAVID CRONENBE BRITISH PANTOMIM THE U.S. VS JOHN LENN INTERNATI DIALOGUES
IQ
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create more intellect publishers of original thinking
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www.intellectbooks.com
IQ contents spring 2008
Publis Masou Associ May Y Sub Ed Saman Art Di Gabri
06 David Cronenberg An Author Looking for a Text
10 British Pantomime Performance
Intelle The M Fishpo Tel: 01 www.
The only live entertainment most people ever see
12 International Dialogues... Dialogues. .. Culture, Education and Art
War, what is it good for?
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IQ
ISSN 1
©2008 part o may b copied any fo withou
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Q&A iQuote » “Creativity requires the courage to let go of certainties. certainties.”” – Erich Fromm
intellect People Focus
Sam King An interview with Intellect’s Marketing Marketing Manager
How did you become involved with Intellect?
and mainstream culture within a lively festival programme. The
In its human resources strategy and emerging su Intellect aims to be an organization in this way we dif where people aspire to work for the publishers by cam quality of life instead of what we author rather tha can afford to pay. Recent graduates book or journal t are welcomed with an extensive market. training programme, and are given How does Intel a great deal of responsibility, responsibility, thus allowing them to make their own other academic personal successes and errors Intellect’s ethos i respectively as part of this organic particular produc training. Intellect nurtures each policies – for exam employee’s working practice little editorial int through the provision of varied comparison with professional tasks, certified Intellect adopts a practical training courses and copy-editing and regular appraisals, gradually procedure, howe strengthening and diversifying ensures gramma their portfolio. Moreover, this and consistency, also involves employees in does not try to m understanding and evaluating a house style or in their professional development. authorial voice. In Intellect is committed to investing represent the aut in new talent and has developed rather than to app Sign up to vote on this title a graduate ‘incubator’ concept We aim to foster Useful Not usefulrelationships bet within its own structure, offering recent graduates part-time jobs marketing person while they find their feet. The and editors that p
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Sam King iQuote » “My advice to young film-makers is this: don’t follow trends, Start them!” – Frank Capra
‘one of Intellect’s greatest strengths is the energy and enthusiasm all employees have towards new ideas for marketing and better promoting our publishing programme.’ unique built-in growth potential for the books and journals programmes, allowing more flexibility in commissioning titles without the assurance of a dedicated readership. For books, this potential is borne out of the advance subsidy that is requested for the majority of titles. The ‘financial backing’ model is used to help subsidize production and marketing costs, allowing the freedom to publish books that might not otherwise be financially viable due to their limited commercial appeal and sales potential. This funding support also allows Intellect to keep book prices low, and
professional publishing house. Whilst Intellect’s vision is focused on the author, rather than the commercial market, we maintain a rigorous vetting procedure at the beginning of production to ensure that the publication is of quality academic content. The peer review process is an important element in production at Intellect – all titles must receive a positive peer review, review, ensuring a high calibre of material, and also to ensure that the publications are brought to their full potential. How does your journal publishing work? Financial support for the journal
tiers in its mark What role does design play in brand, subject a your company? Intellect is a visually imaginative title promotion publisher. We pride ourselves continually stri on devoting attention to quality methods of pub design for all publications, and areas. Intellect the umbrella brand aesthetic. Our trying innovativ in-house designer uses a palette to market its tit of visual concepts to capture attention on ho readers’ imagination as well as niche angles in providing essential information other larger, an about the publishing programme. oriented publis The visual excellence that Intellect to capitalize on has achieved has attracted a significant ener number of organizations to use into raising visi our publishing services. This has print and electr proved to be a great supplementary material, direct revenue stream, and reflects promoting to re Intellect’s commitment to a diverse communities, g publishing profile. The in-house via reviews and magazine, IQ, is also a novel way promotions and to promote our community of a strong public authors and editors and our ideas and internation in a freshSign way to a new audience. up to vote on this title It offers interviews, articles, What is your v Useful Not useful images, features and trivia – mostly publishing? related to the books and journals Electronic publ programmes in some way. become an inte
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Film Studies iQuote » “If my film makes one more person miserable, I’ve done my job.” – Woody Allen
intellect Book Focus
David Cronenberg An Author Looking Looking for a Text ex t By Mark Browning For more than 25 years, Cana-
dian director David Cronenberg has adapted the literary works of others, including Naked Lunch (1991) from William Burroughs’ 1959 experimental novel, Crash (1996) from J. G. Ballard’s 1973 cult text, Spider (2003) from Patrick McGrath’s dark 1990 account of a mental patient’s subjective universe and A History of Violence (2005), based on John Wagner Wagner and Vincent Locke’s 1997 graphic novel. Even films not seemingly adaptations draw on previously-written material, for example, Dead Ringers (1988) derives directly from Jack Geasland and Bari Woods’ novel Twins (1977).
Amis’ London Fields (1989). Looking closely at such texts reveals fascinating features of Cronenberg’s work, e.g. his frequent use of a perpetual present tense, narrative structures that might be described as spiral or centripetal and the direct and unattributed ‘borrowing’ of images, plotlines and dialogue from a range of literary texts. The idea of using literary texts literary texts to illuminate film is not new. new. In 1969, Peter Wollen asserted that ‘we need comparisons with authors in the other arts: Ford with Fenimore Cooper, for example or Hawks with Faulkner’ and it could be argued
man thought. Theoretical discussion of adaptation is often bogged down in repetitive case studies, partly due to what Brian McFarlane terms ‘the fidelity issue’. Notions of remaining faithful assume that there is an irreducible core meaning to an original source text but it is not always obvious as to precisely what the film-maker should be faithful. More precisely, as Neil Sinyard reminds us, ‘adapting a literary text for the screen is es sentially anup actto ofvote literary Sign oncriticism’, this title which should serve to illuminate both Useful Not useful source text and filmic version drawn from it. By drawing on literary texts that are by reputation infamous and
Below Naked Lun Novel by W
Bottom Naked Lun By Hillary M
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David Da vid Cronenberg
iQuote »“A painting in a museum hears more ridiculous opinions than tha n anything else in the world.” – Edmon
FURTHER READING
David Cronenberg: Author or Film-maker By Mark Browning
£19.95 / $40 ISBN 9781841501734 Published October 2007
very cultural establishment against which he seems to rebel. Largely missed by critics, in 2005 he produced a coffee-table book, Red Cars, a history of the 1961 Formula One Championship battle between Ferrari rivals Phil Hill and Wolfgang Von Trips, including a script for an unmade movie. The book, hand-bound with an alumi-
Over the past three decades, the director David Cronenberg has drawn upon themes prominent in works of literature by William Burroughs and J.G. prising and often shocking effect. This volume looks and psychological motivation behind Cronenberg’s fil also discovers how other underground and mainstre help the viewer to unravel his films. Browning inve a deeper level, examining Cronenberg’s films and co to works of literature by innovative authors such as Vladimir Nabokov and Bret Easton Ellis. This book is only the second single-authored stu analy berg and as well as containing the first fir st detailed Sign up to vote on this title (1999), Spider (2003) and A History of Violence useful Usefulcriticism Not contemporary to the director’s work and prominent texts can shed light on the often distu zling world of Cronenberg’s films. It links to the wi
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new 2009 2009 journal journals
www.intellectbooks.com
Journal of African Cinemas
Studies in South Asian Film & Media
Journal of Japanese & Korean Cinema
3 Numbers/ Vol 1, 2009 ISSN 1754-9221 Will be available shortly in Print & Online
3 Numbers/ Vol 1, 2009 ISSN 1756-4921 Will be available shortly in Print & Online
3 Numbers/ Vol 1, 2009 ISSN 1756-4905 Will be available shortly in Print & Online
The Journal of African Cinemas will explore the interactions of visual and verbal narratives in African film. It recognizes the shifting paradigms that have defined and continue to define African cinemas. Identity and perception are interrogated in relation to their positions within diverse African film languages. The editors are
Studies in South Asian Film & Media is the most promising peer-reviewed new journal in the field. It is committed to looking at the media and cinemas of the Indian subcontinent subcontinent in their social, political, economic, historical, and increasingly globalized and diasporic contexts. The journal will evaluate these
The Journal of Japanese & Korean Cinema is a fully refereed forum for the dissemination of scholarly work devoted to the cinemas of Japan and Korea and the interactions and relations Sign up to vote on this title between them. This new Useful Not journal seeks essays foruseful its inaugural issue devoted to Japanese-Korean Japanese-Korean cinematic
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intellect publishers of original thinking
art&desig
Books200 Reading Bande Dessinée Critical Approaches to French-language French-language Comic Strip By Ann Miller
The cultural profile and popularity is at its highe Signof upbande to vote dessinée on this title France and is being increasingly read and studied worldwide. worldwi de. Ann Mil Useful Not useful Bande Dessinée reflects the developing diversity of readership by p framework framework for the academic study and critical analysis of bande dessin
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Theatre & Perf Performance ormance
iQuote » “In the theatre the audience want to be surprised - but by things that they expect.” – Tristan Be
intellect Book Focus
British Pantom Performance By Millie Taylor As Peter Nichols says in his introduction introduction to Poppy (1991) ‘the Christmas pantomime pantomime is the only live entertainment most British people ever see. As children they’re taken; later they take their own.’ While this statement may be debatable given the popularity of other entertainments such as music festivals and large scale
bearing a limited the performance visual comedy ro professional pro on the experienc skills of the com and the importan to the entertainm the expectations appears to offer a
‘pantomime can be theorized as Sign up to vote on this title a connection to an idealised pas Useful Not useful utopian futureeven while main awareness of the political and so
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�
iQuote » “Doubt tempers belief with sanity.” – B. Kruger
instead is the importance of a sense of continuity, familiarity and nostalgia for a romanticized past that is clearly fundamental to pantomime’s advertising and performance. This is reflected in the story, which is well known as myth or fairy story, the characters, archetypes whose relationships function through engagement in action, and the structures and practices of the performance performance event, which include transformation scenes, songs and dances, comedy routines and audience interactions. At the same time the pantomime is seen as belonging to the contemporary experience of the time and place of its performance. Performers are drawn from television or radio and make reference to the celebrity that connects them to the awareness of their audiences. Comedians refer to local towns or districts, shops or industries and issues in
Intellect Books, IQ Magazine: US
FURTHER READING
British Pantomime Performance Millie Taylor
£19.95, $40 ISBN 9781841501741
Millie Taylor’s original analysis of contemporary British pantomime addresses the question of how pantomime creates a unique interactive relationship with, and potentially transformative experience for, its audiences. Pantomime draws audiences into a story, an engagement with the hero and an empathetic attachment to the success of the quest.
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Art & Design
iQuote » “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” – Andrew
intellect Book Focus
International Dialogues about Visual Culture, Education and A By Rachel Mason and Teresa Eça This book originated in
a congress organized by the International Society for Education through Art (InSEA) in Portugal that debated issues of international concern surrounding art education. The book reflects this debate, together with the editors’ desire to allow new voices in art education from around the world to be heard. They have organized the content around global perspectives on art education, discussion of theory and practice located in critical pedagogy, pedagogy, existing projects involving new technologies, projects targeted
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International Dialogues iQuote » “I merely took the energy it takes to pout and wrote some blues.” – Duke Ellington
‘...a significant number of chapters in this book explore pioneering interdisciplinary applications of art education and innovative technologies.’ Left Mirror self-portrait with imaginary attributes Below Mirror self-portrait with imaginary attributes All images © Nelson Hoedekie
other to address the problem of FURTHER REA conserving the marine ecosysInternation tem in developing nations. This about Visua section also includes an account of a small-scale ecological colEducation a laboration between a univerEdited by Te sity art teacher and the Save the and Rachel M Redwood League in California. £19.95, $40 In the last environmental and ISBN 978184 community-based project, travelling artists and educators set out to support local livelihoods and strengthen communities in northern Scandinavia. Finally, the section entitled ‘Art Education for Peace’ critically analyses the approaches taken by Israeli art teachers in teaching students with continuous experience of war and included an acThe 2006 InSEA count of an Art for Peace project was to facilitate with British-born Muslim girls. There areSign paintings of theon Iraqi up to vote this title art education on basis. With glob war by children in Sweden and a Useful Not useful International Di method of diagnosing post-trauVisual Culture, E matic stress through children’s Art reflects Art reflects this drawings developed in Cyprus.
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Media & Culture iQuote » “A culture is made - or destroyed - by its articulate voices.” – Ayn Rand
intellect Journal Focus
War! What is it good for? Q & A with Nikki Cooper, Martin Hurcombe and Debra Kelly
and a model Spit POW had made f Debra: The journal builds on the communicated to work of our research group, the experiences. Alon Group for War and Culture Studies, cent interest in B whose emphasis is broadly on the the First World W complex relationships between consider cultural war and culture, and specifically of war as perhaps on culture in the sense of ‘cultural available to me to artefacts’ rather than the some what my grandfat times ill-defined ‘cultural studies’. had experienced. I’m immensely proud to know that specialize in Fren this work isSign seenup by to scholars in the unrelated – I cho vote on this title field as revolutionizing the study of at university main Useful Not usefultravel. I’ve been l the cultural history of war, through an approach based on representaas an undergradu tion, memory and identity. I think I’ve been able to m What’s unique about the Jour-
nal of War and Culture Studies ?
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hello there * swotter, brain,, brain egghead Sign up to vote on this title
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Media & Culture iQuote » “Don’t hate the media, become the media.” – Jello Biafra
intellect Journal Focus Dr Martin Hurcombe and Professor Nicola Cooper : ‘Getting the first issue together was a huge challenge.’
and has an article in the first issue of the journal. I could never have imagined back then that I’d grow up to meet and work with people who actually created such iconic cultural moments. Picking up on Martin’s last point – so, the research environment of the GWACS and now the Journal is a supportive one? Nikki: I was two years into my Ph.D. but had also recently t aken up my first full-time post as Lecturer in European Studies at Sussex University when a rather perplexing message was passed on to me: would I call Valerie Holman (now a member of our Editorial Board), about the Franco-Indochinese war? Upshot: would I give a paper at the first GWACS conference on France at war in the twentieth century? Far be it from a rookie to turn down such an offer, so I blithely agreed, knowing full well that my (still unfinished!) Ph.D. stopped firmly
that point. The high point for me was when Douglas Johnson, the renowned historian who died in 2005, asked me a question following my paper. It showed that not only had he listened carefully to my paper, but that he was genuinely interested in what I had to say. Debra: Yes, Douglas was a huge supporter of our work in the early years – and was suitably indignant when the French Embassy rang him to enquire who these women were (the core group was all-female at that time, highly unusual in itself in the field of war studies) who were bringing up all sorts of stuff about France and war. He soon enlightened them as to our credentials and aims! Our interests are much wider now of course. The very nature of war means that scholars cannot remain entrenched (sorry!) within nationally defined approaches; at some point we come up against the ‘other side’.
‘One of the maddest nal at a big confe and Conflict held moments was versity in Septem London launch la when Martin and I that point we we Sign up to vote on this title huddled over poorly distracted from o Useful Not useful printed Google maps that we’d manag selves into a laby with mobile phones estate just off the
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intellect publishers of original thinking
Film Studies
2008
New titles from Intellect
New Books Declarations of Independence: American Cinema and the Partiality of Independent Production
New Journa
The Soundtra
By John Berra
Editors: Stephen D Larry Sider and Do
£19.95 / ISBN 9781841501857 224pp / March 2008
ISSN: 1751-4193 2008 / 3 issues per
Truth or Dare: Art and Documentary
Studies in Documentary
Edited by Cahal McLaughlin Editor: Deane Wi and Gail Pearce Sign up to vote on this ISSN: title 1750-3280 2007 / 3 issues per £19.95 / ISBN 9781841501758 Useful Not useful 144pp / January 2008
Journal of Ad
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Theatre & Perf Performance ormance
iQuote » “Let a single complete action, action , in one place and one day, keep the theatre packed to the last.” last.” – N
intellect Book Focus
The Fire & The Fury
Lovefuries, a second volume of plays by David Ian R
been recently published by Intellect part of the P (published March 2008). This follows the acclaim volume, The Wye Plays (‘fierce, muscular texts in t Artaud and John Clare.’ – Iain Sinclair), publishe Here, the playwright provides invaluable insight
as part of an inv by a conversatio which began its theatrical life After these I wa in Wales in 2004, transferred pitch-black nigh to Dublin’s theatre festival ed by the chant (earning aSign four-star accolade up to vote on this titlesoul record (‘I A in The Irish Times ), and then and by a drama Useful Not usefulthat both terrifi returned to Cardiff for production in The Wales me to write it: a Millennium Centre in 2005. of confrontatio Lovefuries is a double bill of texts for performance,
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Theatre & Perf Performance ormance iQuote » “Creativity requires the courage to let go of certainties.” certainties.” – Erich Fromm
in us all – an internalised voice, perhaps in the tone of a formative authority, which mocks our achievements, dismisses our worth and is witheringly reductive of all our possibilities. Thematically, Thematically, both pieces are linked by the experience of grief at the loss of a lover, and by the voice and psyche of each protagonist splintering into two, in ways that mock the ultimate dominion of death. As a practical drama teacher, I personally resent the disgracing of my profession and my artistic medium through one man’s exercise of power without responsibility. responsibility. I leave you to imagine my feelings about what he did to the lives of some of my friends. It seemed appropriate to me to repossess the form of
theatre and make a specifically theatrical riposte to his conduct. Attending the premiere of Lovefuries, the major dramatist David Rudkin observed how both texts insisted the performers become ‘dangerously erotic presences in the space’; ‘The first is almost a song for a woman cursing the loss of her lover to the sea’s elemental bargaining. Terse prose congeals to a harsh uningratiating poetry that can ambush us with sudden fierce epiphanies. The second would offer an ideal project for a young actor seeking to transmute his personal anger into an objective illuminating force. The language here here is brutalized, sometimes regressed – to an effect almost Mahlerian, for the rage is murderous’. {
‘I think there may be a Hang in us all – an internalized vo the tone of a formative autho which mocks our achieveme misses our worth and is with reductive of all our possibili
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Media & Culture iQuote » “The Law of Raspberry Jam: the wider any culture is spread, the thinner it gets.” gets.” – Alvin Toffl
intellect Book Focus
The UK’s Switch To Digital Televis Ready or not, here it comes... By Michael Starks
October 2007 saw the first
switch-off of conventional analogue television in the UK - in the small town of Whitehaven in Cumbria. This marked the start of a regionby-region process which will extend until the end of 2012. At that point the UK will have converted fully to digital television, based on terrestrial, satellite, cable and broadband transmission - the culmination of a long transition process that began with the launch of digital television back in 1998. The UK was the first country to start national digital terrestrial tele vision and, at 84 per cent of homes now, now, it has the highest digital take-
ground. They jumped at the opportunity digital terrestrial technology gave them to enter the field of multi-channel TV. The government welcomed the possibility of reclaiming spectrum through switchover. switchover. However, a hasty launch, with immature technology, technology, was one of the factors behind ITV Digital’s collapse in 2002 and analogue switch-off only became feasible in the UK a fter the subsequent success of Freeview. Freeview. The relatively late date for completion is the result of four factors: 1/ In several other countries the role of cable and satellite is much greater than in the UK, leaving analogue terrestrial as a relatively
Below timetable for completing switchover throughout
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Media & Culture iQuote » “Culture is to know the best that has been said and thought in the world” – Matthew Arnold
FURTHER READING
Switching to Digital Television: UK Public Policy and the Market By Michael Starks
£19.95, $40 ISBN 978-1-84150-172-7 Published September 2007
‘The UK’s UK’s protracted switch over timetable does give reluctant consumers plenty of time to get used to the idea...’ idea...’ requiring over 1000 small transmitters for the last 4 or 5 per cent: in Germany, for example, digital
tion terrestrial TV. The UK has enjoyed advantages from starting early and achieving high take-up
As the permanent switch from analogue terrestrial grows closer, Switching to Digital Television: UK Pu Market examines the problematic policies, politics that lie behind the decision to go d igital. Since the birth of digital television in the UK i versial trend to switch over completely has rais regarding the potential effects across the techno world. This book explores the essentially political c ing off analogue and unwraps the issue that politi regulators are responsible for altering the lives of tling a generation who have grown up with analogu shutting down the source of entertainment and inf Sign up to vote on this title so many have become accustomed. the heart of response is the complex Not useful AtUseful Starks’ progress and the ways in which the decision to ma sory affects nearly every household in the UK. This
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Q&A: John Scheinfeld
iQuote » “A good opening and a good ending make for a good film provide they come close together.” – Fe
intellect People Focus
John Scheinfe An interview with the Director of John Lennon By Parviz Jahed
The US vs. John Lennon is a powerful and thoughtful docum the political views of John Lennon, his peace campaign a War and American military and the subsequent treatm the FBI and the American government during the 1960s at last year’s ‘London Film Festival’, film makers John S vid Leaf portray a new image of John Lennon by putt never before seen archival material alongside provoca interviews with those who knew Lennon well, such as leader Bobby Seale and radical figures like Abbie Hoffma I met John Scheinfeld over breakfast at the Sofitel St London during the London Film Festival. In this interv the movie, American policy and political documentarie
Parviz Jahed: Is this your first essence he’s the documentary film? who Sign up to vote on this title better than story? The challe John Scheinfeld: I have done docs Useful Not usefulof film is how to for about thirteen years, many of them for television, but this is a coherent narra our first feature film documentary anybody tying th
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Film Studies iQuote » “A film is a petrified fountain of thought.” – Jean Cocteau
Below The US vs. John Lennon
people, they do smart movies.’ But also when we explained our approach they said ‘OK. that’s something I’ll be happy to talk about.’ And I think that’s mostly what it is: an interesting approach approach to an interesting time and they had things to say about it. P.J: Was there a reason you avoided talking to other famous people in pop culture and the music industry? J.S: For this film we decided that we only wanted people who were there, people who were in Lennon’s world at that time and people who were key figures on the American stage at that time, meaning political figures; social and cultural figures. We didn’t want some authors who had researched the 60s and wrote about it, we wanted people who were there. Pop stars could talk about John Lennon as a pop star but they didn’t do what he did, and we
meant was that do it anyway. Th afraid of people but they are. He we couldn’t find film but is inclu bonus material, the government with disloyalty, something agai you’re being dis society where w have freedom o posed to be allo views on all the important to do
P.J: So does th ‘For ‘For this film we decided that we only think of you a wanted people who were there, people lishment figur who were in Lennon L ennon’’s world at the time J.S: I’m hardly and people who were key figures Sign up to on vote on this title P.J: I mean kind of film. the American stage, meaning political Useful Not useful J.S: I don’t thin figures; social and cultural figures.’ figures.’ much attention
this is no great
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Q&A:film» John Scheinfeld 024 film»feature feature
exclusive li ving living a lone alo ne values.” iQuote » “All media existinterview to invest our lives with artificial perceptions and arbitrary values.” – M. McLuh intellect Journal Focus
may be doomed to repeat that part of history.’ P.J: Do you think there might be any censorship issues regarding the showing of your film in the States? J.S: No, we’ve not experienced anything. We’ve had no trouble making the movie, no trouble ever showing it. P.J: What is your opinion about the anti-American wave that spread out around the world?
like George Bush’s politics, and I don’t either! And I didn’t vote for him. But one on one I think they like Americans. When I travel to other countries, I find people respect me and deal with me in a very nice way and they don’t feel ‘oh, it’s an American’. But I think it’s the politics and the Bush administration that have alienated people. P.J: There seems to have been a huge increase in the making of political documentaries since the release of Michael Moore’s
‘We live in a society where we’re supposed to have freedom of speech, we’re supposed to be allowed to express our views on all the issues and that it’s really important to do that.’ J.S: I made a documentary in India and I’ve been there for a week.
film Fahrenheit 9/11. What do you think is the future for po-
Birgit Beumer
An interview with the Editorof Stud Sign up to vote on this title Russian Useful & Soviet Cinema journal Not useful
How did you come to Intellect with SRSC ?
meantime cinem a stronger subjec
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Q&A: Birgit Beumers iQuote » “A wide screen just makes a bad film twice as bad. bad.”” – Samuel Goldwyn
editorial and advisory boards. Thus Studies in Russian and Soviet Cinema (SRSC) emerged … Why this strange title?
‘Soviet’ is a term that bears no contemporary resonance, but historically we need to assess over 70 years of film history, with ten years of ‘pre-Revolutionary’ film and fifteen years of ‘post-Soviet’ film – and even in the definition here of the ‘before’ and ‘after’ we can’t do without references to the Soviet era. The territory of the former USSR included Central Asia, the Baltic States and other, now independent republics that are in the process of rewriting their film history and developing their own industry. SRSC is keen to include articles on the cinemas and directors of the former Soviet republics and, indeed, on the growing regional cinemas of Russia, such as the expanding studio at Kazan, the re-emergence
for their research topic. We look for lucid arguments, competent work with sources, and new readings and interpretations. All articles are double peer-reviewed, and usually we report back to authors within six weeks. We also publish translations of film scripts and documents, in order to make such sources available to nonRussian speaking film scholars. And in each volume we provide reviews of the major monographs (written in either English or Russian) that have been published
libraries subscribing now that the first volume is complete with three issues. University libraries both in the UK and the US are experiencing a financial crisis with regard to new journal subscriptions and have established a policy of subscribing to new journals only after they have demonstrated an ability to publish issues regularly. As we begin work on the second volume of the journal, the number of university libraries subscribing to the journal will begin to increase.
Propo new j
“There is powerful whose tim –Victor H
‘The territory of the former USSR included Central Asia, the Baltic States and other, now independent republics that are in the process of rewriting their film history and Sign up to vote on this title developing their own industry.’
Intellect is s to start new commission strengthen folio in the a ties. We look exceptional ties. The mo tors are tho and inspire to submit ar peer review day-to-day d the journal. sionate edit and th time the best jou
on Russian and Soviet cinema during the current year.
We offer edi training in j This include the set-up, l
Useful
Not useful
What are the plans for the journal?
We aim to have a competition for
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Art & Design iQuote » “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” keep.” – Scott
intellect Journal Focus
Defining the Creative Industries Simon Roodhouse gauges the government’s government’s creative industries Stimulated by the ‘New
Labour’ government in the 1990s, the economic role and function of the UK’s creative industries aroused international international interest. Chris Smith, Britain’s New Labour Secretary of State for Culture, Media and Sport, confirmed early in his ministry that the creative industries were a growth sector of the UK economy, saying ‘It is incumbent on the government, in partnership with industry, to take active steps to promote economic growth in the creative and cultural sector. If we
stressing efficiency, effectiveness, value for money, and market forces. Smith reinforces this interpretation: ‘ensuring that the full economic and employment impact of the whole range of creative industries is acknowledged and assisted by government’. (Smith 1998) The DCMS’s interest and engagement with the creative industries, through the establishment of the Creative Industries Task Force (CITF), chaired by the Secretary of State for Culture, Media and Sport, cannot be seen as anything
the generation and exploitation Leadbetter & Oak of intellectual property’. (Creative creative economy, H Industries Task Force 1998) money from ideas The sectors identified within xiii) and, Creative between Arts and Co this framework are: ‘advertising, architecture, the art and antiques 2000) with our e market, crafts, design, designer copyright, paten fashion, film, interactive leisure contracts mecha software, music, the performWhat is of in ing arts, publishing, software, industries ‘const television and radio’. (Creative provides a frame Industries Task Force 1998) ing with both pu These sub-sectors would not sectors in a fairer necessarily recognize themselves cultural activity a as creative industries, for example and engaging wi architecture has much more in arguments gener common with construction than advances in techn it does with the arts and antiques to a reassessmen trade. This shows that the idea is a forms of governm policy construct, which has yet to tion in support o be recognized by those working in culture as describ a Sustainable Cultu the field. The concept of the creative in(The Reformer, C Sign up to vote on this title dustries has more in common with Roodhouse 2002 Useful Not useful the emerging global economic interest in the knowledge economy, These and other This is typified in ‘ The to be investigated The Independents:
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book worm – noun 1.a person devoted to reading or studying.
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Book Reviews iQuote » “Writing is the best way to talk without being interrupted.” interrupted.” – Jules Renard
Below left Golem/Loew Below Time Travelling
ART & DESIGN
Videogames and Art Edited by Andy Clarke and Grethe Mitchell ISBN 9781841501420 Hardback, 230x174mm Published March 2007 Reviewed by Dean Bowman
In a little over twenty years
the games industry has become worth four times that of the global film industry, and although few would dispute its cultural influence, many deny its claims to the hallowed category of art. Simultaneously the art world has been drawing on gaming, and the The House of recent inclusion of The Osama Bin Laden (Langlands and Bell 2003) on the Turner Prize is an indication of this new direction. This is the starting point for Andy Clarke and Grethe Mitchell’s
territory of what the editors have called ‘videogames art’; the second providing specific case studies and interviews with practitioners; and a final section that asks the question can videogames be considered art?
There is perhaps also an overemphasis on the ‘First Person Shooter’ (FPS) and the concurrent development of ‘machinima’, a now common practice in which the game engine is hijacked by the artist or fan to create a modification (mod) in the form of a new game or a movie. The following section of interviews, however, is quite fascinating and includes discussions with artists who are attempting to set up an interactive counterpart to a real-life gallery within Sims. Two ferociously independent Australian games designers discuss their work on the game Escape from Woomera , which reveals
chapter, happily, Pacman and Doom on its own terms ‘Just as writers like Andre Bazin were indispensable depth and respec ess in elevating film as an art, similar voices are needed a fascinating aesthetics, in wh Sign up vote on this title for gaming to be taken seriously. Some of to those rooted, including Not usefulof ‘Mono no Aw voices can already be faintly heard in this tUseful his book.’ in Final Fantasy isometric camera
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Book Reviews
iQuote » “ Better to write for yourself and have no public, than to write for the public and have no self.” – Cyril C
Below Desk with Lamp by Stephen Duncalf Bottom Rust by John Laven
ART & DESIGN
An important section of this book is a collection of personal testimonies on art-making. The interviewees range from children, teachers and amateur artists to professional artists. There is a case for publication of a larger collection of such responses with brief analyses from the author which might serve as a sourcebook for those involved in art education. The otherwise perspicacious
Why We Make Art and Why it is Taught By Richard Hickman ISBN 9781841501260 Paperback 176 pages Published August 2005 Review by Alexander Adams, artist and critic with CAP gallery, London In this book , Richard
Hickman, Lecturer in education at the University of Cambridge, takes issue with post-structuralists, who posit the death of the self and claim all values to be relative, by asserting the importance of child-centred learning with an emphasis on self-expression. He tackles discipline-based (as opposed to individual-based) learning approaches which demand all artistic production be contextualized. ‘It is, of course,
and balanced when they are nothing of the sort, as as much an impediment to creativity as a spur. There is plenty of sympathy here for teachers caught between imperatives of measuring almost intangible qualities to pseudoobjective standards and the desire to foster joyful creativity in children. Hickman points out the deleterious effect of not teaching basic skills. Learners – of all ages – become understandably frustrated by not being able to
great work at a yo about Egon Schie remarkable and o before the age of before the age of art historical cont of salt might have Another blind be higher educati a brief discussion not touched on in way, though the a
‘There is plenty of sympathy here for tea between imperatives of measuring almo qualities to pseudo-objective standards desire to foster joyful creativity in child
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Backpage iQuote » “There is more pleasure to building castles in the air than on o n the ground.” ground.” – Edward Gibbon
intellect comment
in forthcoming years. These commitments are just the first few steps. The next stage is to write an Environmental Policy document. We aim to finalize this document in September 2008 and put it into practice thereafter. Our commitment today, and for future years, is to continue a gradual migration towards more sustainable, environmentally friendly practices. In this process we shall solidify our aims and achievements into a coherent environmental policy. RECYCLING: Intellect currently recycles most of its office paper.
The future’s bright, and it’s most definitely green Intellect’s Intellect’s environmental policy
Testimo
‘As an editor, wha about Intellect is t of genuine concer advice, and unequ the editors’ ultim people at Intellec they do, which all to focus on our jo best texts.’ Editor
‘I am very pleased there is a publish thinking’. It gives your published bo and meaningful. standard usually publishers.’
We aim by 2010 to print 100 ‘I first became aw per cent of our journals on FSC Press through you paper. All Intellect Sign up books to voteare on this titlein Sight & Sound already being printed on FSC Useful Not useful prominently disp paper. We integrate questions particularly fine a of environmental sustainability for titles like Holly Cinemas of the Othe as part of our print buying
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intellect publishers of original thinking
Music journals 2008 New titles from Intellect
International Journal of Community Music
Journal of M Technology a Education
3 Numbers/ Vol 1, 2008 ISSN 1754-9221 Will be available shortly in Print & Online
3 Numbers/ Vol ISSN 1754-9221 Will be availabl Print & Online
Journal of Music, T The International Journal of and Education is t Community Music is a refereed journal specificall journal that publishes to the educational research articles, practical of music technolo discussions, timely reviews, technological technological aspe readers’ readers’ notes and special JMTE draws its issues concerning all aspects from a broad com of community music. Our rese educators, editorial board Sign is composed of on this of up to vote title and practitioners leading international scholars Useful Not useful working closely w and practitioners spanning technologies in th diverse disciplines that reflect music education a the scope of community
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The Spring 2008 edition of IQ magazine is available now. IQ lets you in on all the latest releases and what the authors, editors and publishers at Intellect have to say! Why not take a look … Full description
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Intellect Books, IQ Magazine:
Intellect Books, IQ Magazine: US
Pakistan National Space
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