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contents spring 2008

06 David Cronenberg Masoud Yazdani

Associate Editor
May Yao

An Author Looking for a Text Sub Editor

Samantha King
Art Director
Gabriel Solomons

10 British Pantomime Performance Intellect Ltd.

The Mill, Parnall Rd,
Fishponds, Bristol, BS16 3JG
The only live entertainment most people ever see Tel: 0117 9589910

12 International Dialogues...
IQ / Thinking in Colour
ISSN 1478-7350
©2008 Intellect Ltd. No

Culture, Education and Art part of this publication

may be reproduced,
copied, transmitted in
any form or by any means

14 War, what is it good for? without permission of the

publisher. Intellect accept
no responsibility for views

Q&A with Nikki Cooper, Martin Hurcombe & expressed by contributors

to IQ; or for unsolicted
manuscripts, photographs or
illustrations; or for errors in

18 The Fire & The Fury

articles or advertisements.

Intellect publishes books

Lovefuries - a new addition to Intellect’s Playtext series

and journals by authors and
editors with original thinking
they strongly believe in. Our
intention is to produce books

20 The UK’s Switch to Digital Television

and journals that have presence,
create impact and are affordable
for readers. We commission
regardless of whether there
Ready or not, here it comes... is an established readership
for the ideas: we support our
authors comprehensively in

22 John Scheinfeld
articulating their thoughts and
then bring them to as wide
a readership as possible. We
choose authors and editors

Interview with the Director of The U.S. vs. John Lennon who in backing their ideas,
are willing to be part of our
publishing process by investing
their energy and resources as
Q&A » 04 Sam King | 24 Birgit Beumers | 28 Book Reviews | 30 Green Thinking needed in cooperation with us.

IQ Spring 2008 | 3
iQuote » “Creativity requires the courage to let go of certainties.” – Erich Fromm

intellect People Focus

In its human resources strategy and emerging subject areas, and

Intellect aims to be an organization in this way we differ from other
where people aspire to work for the publishers by campaigning for the
quality of life instead of what we author rather than producing a
can afford to pay. Recent graduates book or journal to fill a gap in the
are welcomed with an extensive market.
training programme, and are given
a great deal of responsibility, thus How does Intellect differ from
allowing them to make their own other academic publishers?
personal successes and errors Intellect’s ethos is reflected in its
respectively as part of this organic particular production and editorial
training. Intellect nurtures each policies – for example, there is
employee’s working practice little editorial intervention in
through the provision of varied comparison with other publishers.
professional tasks, certified Intellect adopts a rigorous
practical training courses and copy-editing and proofreading
regular appraisals, gradually procedure, however, whilst this
strengthening and diversifying ensures grammatical excellence

Sam King
their portfolio. Moreover, this and consistency, the copyediting
also involves employees in does not try to mould content into
understanding and evaluating a house style or interfere with the
their professional development. authorial voice. Intellect strives to
An interview with Intellect’s Marketing Manager Intellect is committed to investing represent the author authentically
in new talent and has developed rather than to appease the reader.
a graduate ‘incubator’ concept We aim to foster close working
within its own structure, offering relationships between editorial and
How did you become involved and mainstream culture within recent graduates part-time jobs marketing personnel and authors
with Intellect? a lively festival programme. The while they find their feet. The and editors that proves to be
I had always wanted to work in an visual culture magazine, Film company also offers both living mutually beneficial. We place great
environment where the circulation International (published by Intel- and working accommodation emphasis on providing a service to
of creative ideas was the central lect) agreed to act as an intellectual in the building above Intellect’s our authors and editors, ensuring
focus. My degree provided me resource for the festival and its in- offices in Bristol. The aim is to that they feel fully involved and
with the academic background ternational dimension. This ambi- make self-employment a viable satisfied with the publishing
to pursue this ambition, and tion has led to the development of option for graduates in art, media process. This collaborative
complemented an attentive interest a full and extensive programme of and design through the provision practice is very well received, and
in creative industries. Following an festival events spanning two weeks of an engaging living and working the company continually receives
initial meeting at Intellect, I began in Bristol, and establishment of environment. positive feedback.
a work placement as Publishing a community interest company,
Assistant in 2005. Since then I Compass Film, of which I am Di- What is Intellect about? What is your Unique Selling
have been involved in a range of rector and one of the main festival Intellect is an independent Point?
roles within the company, from organizers. Now in its third year, academic publisher whose focus Intellect has found that there
copy-editing and production the company also seeks to widen is creative media and popular is a real demand from authors
management, to marketing and its focus to host various other arts culture, publishing scholarly books and editors to get their original
publicity. I have recently taken on and community related events and journals that exemplify our material published. In the
the position of Marketing Manager. throughout the year, culminating mission as publishers of original past, the company was not able
in the international film festival thinking: accepting proposals and to increase book and journal
What are your general weekend in the autumn. commissioning based on the merit production to meet this demand
interests outside of Intellect? of ideas rather than sales. Intellect due to prohibitive production
In 2006, I had an idea to unite the Could you describe Intellect’s aims to provide a vital space for and marketing costs. However,
two conflicting worlds of academic recruitment policy? widening critical debate in new Intellect has now developed a

4 | Thinking in Colour
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 What role does design play in

your company?
tiers in its marketing strategy:
brand, subject area and individual
is the energy and enthusiasm all Intellect is a visually imaginative title promotion, and the team
publisher. We pride ourselves continually strive to find effective
employees have towards new ideas for on devoting attention to quality methods of publicizing these
marketing and better promoting our design for all publications, and areas. Intellect works hard on
the umbrella brand aesthetic. Our trying innovative new strategies
publishing programme.’ in-house designer uses a palette to market its titles, and focuses
of visual concepts to capture attention on how to benefit from
unique built-in growth potential professional publishing house. readers’ imagination as well as niche angles in the industry that
for the books and journals Whilst Intellect’s vision is focused providing essential information other larger, and more trade-
programmes, allowing more on the author, rather than the about the publishing programme. oriented publishers, struggle
flexibility in commissioning commercial market, we maintain The visual excellence that Intellect to capitalize on. In particular,
titles without the assurance a rigorous vetting procedure at the has achieved has attracted a significant energy is channelled
of a dedicated readership. For beginning of production to ensure number of organizations to use into raising visibility via our own
books, this potential is borne that the publication is of quality our publishing services. This has print and electronic marketing
out of the advance subsidy that academic content. The peer review proved to be a great supplementary material, direct mail, e-newsletters,
is requested for the majority of process is an important element revenue stream, and reflects promoting to relevant listserv
titles. The ‘financial backing’ in production at Intellect – all Intellect’s commitment to a diverse communities, gaining publicity
model is used to help subsidize titles must receive a positive peer publishing profile. The in-house via reviews and endorsements,
production and marketing costs, review, ensuring a high calibre of magazine, IQ, is also a novel way promotions and advertising, and
allowing the freedom to publish material, and also to ensure that to promote our community of a strong public profile at national
books that might not otherwise the publications are brought to authors and editors and our ideas and international conferences.
be financially viable due to their their full potential. in a fresh way to a new audience.
limited commercial appeal and It offers interviews, articles, What is your view of electronic
sales potential. This funding How does your journal publish- images, features and trivia – mostly publishing?
support also allows Intellect ing work? related to the books and journals Electronic publishing has also
to keep book prices low, and Financial support for the journal programmes in some way. become an integral part of
therefore makes them accessible programme is sourced via two Intellect’s strategy. The company
to a wide readership. This model methods: firstly, through our How do you market has been publishing e-books
doubles up as a kind of screening partners who pay to include and yourselves? since 1999 through third party
technique, to ensure that the sell Intellect journals within their Intellect has developed keen distributors, and these sales have
author feels fully committed to the own aggregated collections, and market awareness and a firm proved to contribute substantially
book, and invests their energy and secondly via an annual investment understanding of who its target to company revenue. Intellect is
enthusiasm in its success. put forward by each journal’s customers and readers are. We not only committed to discovering
sponsor (either an association/ publish for university/ college new methods of making content
How does this differ from so institution) towards the running academics and post-graduates. It available to potential readers, but
called ‘vanity publishing’? and marketing costs. has been recognized recently that also demonstrates a willingness
Vanity publishing panders A recent ALPSP report indicates some of our book titles do possess to engage with new technologies
entirely to the author’s conviction that on average less than 200 new a greater trade potential, and for and current trends in social
in their work, dismissing the academic journals are launched these further marketing tactics networking & Web 2.0 platforms.
quality control applied by a each year worldwide. Intellect are assigned. There is a dedicated Intellect aims to expand its
professional publisher to a raw launched seven new journals in marketing team working within current role as a facilitator of
manuscript, such as careful 2007, and will be launching nine the company – one of Intellect’s critical debate via formal print and
copy-editing, sophisticated design for 2008, contributing a 5 per cent greatest strengths is the energy electronic publications into new
and layout and comprehensive share of the new journal market. and enthusiasm all employees styles of publishing via an open-
distribution and marketing Intellect’s vision is to retain a have towards new ideas for architecture online submission and
strategies. Vanity publishing also market share of around 4 per marketing and better promoting tracking system. {
excludes the essential process cent over the next three years in our publishing programme. The
of assessment integral to a initiating new journals. company has identified three key

IQ Spring 2008 | 5
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 for a Text
By Mark Browning
For more than 25 years, Cana- Amis’ London Fields (1989). Looking man thought. Theoretical discussion Below
dian director David Cronenberg has closely at such texts reveals fascinat- of adaptation is often bogged down Naked Lunch
Novel by William Burroughs
adapted the literary works of others, ing features of Cronenberg’s work, in repetitive case studies, partly due
including Naked Lunch (1991) from e.g. his frequent use of a perpetual to what Brian McFarlane terms ‘the Naked Lunch (1991)
William Burroughs’ 1959 experi- present tense, narrative structures fidelity issue’. Notions of remaining By Hillary Mushkin and S. E. Barnet

mental novel, Crash (1996) from J. G. that might be described as spiral faithful assume that there is an ir-
Ballard’s 1973 cult text, Spider (2003) or centripetal and the direct and reducible core meaning to an original
from Patrick McGrath’s dark 1990 unattributed ‘borrowing’ of images, source text but it is not always obvi-
account of a mental patient’s subjec- plotlines and dialogue from a range ous as to precisely what the film-mak-
tive universe and A History of Violence of literary texts. er should be faithful. More precisely,
(2005), based on John Wagner and The idea of using literary texts as Neil Sinyard reminds us, ‘adapting
Vincent Locke’s 1997 graphic novel. to illuminate film is not new. In a literary text for the screen is es-
Even films not seemingly adaptations 1969, Peter Wollen asserted that ‘we sentially an act of literary criticism’,
draw on previously-written mate- need comparisons with authors in which should serve to illuminate both
rial, for example, Dead Ringers (1988) the other arts: Ford with Fenimore source text and filmic version drawn
derives directly from Jack Geasland Cooper, for example or Hawks with from it. By drawing on literary texts
and Bari Woods’ novel Twins (1977). Faulkner’ and it could be argued that are by reputation infamous and
Cronenberg’s literary awareness is that, as Leonard Bernstein believed, experienced primarily on Higher
present in abandoned projects, such ‘the best way to “know” a thing is in Education courses, and by choosing
as Mary Shelley’s Frankenstein, Brett the context of another discipline’. to retain their titles, Cronenberg ap-
Easton Ellis’ American Psycho and Total However, there remains a stubborn pears to seek the endorsement of the

‘By drawing on literary texts that are by

reputation infamous and experienced
primarily on Higher Education courses,
Cronenberg appears to seek the endorse-
ment of the very cultural establishment
against which he seems to rebel.’
Recall, based on Philip K. Dick’s short Leavisite tendency that implicitly
story ‘We Can Remember It For You Whole- values literary works as superior on
sale’. It is also apparent his own acting the grounds of being the more estab-
career, in films such as Nightbreed lished art form, that film can only be
(1989), where he shares Clive Barker’s visual, whilst literature is linguistic,
celebration of monstrosity and in po- and that film cannot emulate fiction’s
tential future projects, such as Martin ability to convey the profundity of hu-

6 | Thinking in Colour
David Cronenberg
iQuote »“A painting in a museum hears more ridiculous opinions than anything else in the world.” – Edmond de Goncourt

David Cronenberg:
Author or Film-maker
By Mark Browning
£19.95 / $40
ISBN 9781841501734
Published October 2007
Over the past three decades, the
director David Cronenberg has
drawn upon themes prominent
in works of literature by William Burroughs and J.G. Ballard to sur-
prising and often shocking effect. This volume looks at the literary
and psychological motivation behind Cronenberg’s film releases, but
also discovers how other underground and mainstream fiction can
help the viewer to unravel his films. Browning investigates this at
very cultural establishment against
a deeper level, examining Cronenberg’s films and comparing them
which he seems to rebel.
to works of literature by innovative authors such as Angela Carter,
Largely missed by critics, in
Vladimir Nabokov and Bret Easton Ellis.
2005 he produced a coffee-table
This book is only the second single-authored study on Cronen-
book, Red Cars, a history of the 1961
berg and as well as containing the first detailed analysis of eXistenZ
Formula One Championship battle
between Ferrari rivals Phil Hill and
(1999), Spider (2003) and A History of Violence (2005), it applies
Wolfgang Von Trips, including a contemporary criticism to the director’s work and explores how
script for an unmade movie. The prominent texts can shed light on the often disturbing and puz-
book, hand-bound with an alumi- zling world of Cronenberg’s films. It links to the wider context of
num cover and limited to only 1000 adaptation and interpretation studies and seeks to address the
copies, is a self-conscious object fundamental questions and literary aesthetic behind Cronenberg’s
d’art and Cronenberg describes challenging works.
how it is a ‘way for me to create my

film without actors and film crew Above and below
this book linked to a website and A History of Violence (2005)
Directed by David Cronenberg
to an exhibition’. However, even
here the multi-media ‘Red Cars’ The 1997 graphic novel written by
project, including lectures and a John Wagner and Vincent Locke

Cronenberg retrospective, echoed

very similar activities by Ballard in
the 1970s. Cronenberg likes to cite
Borges’ statement that ‘a phenom-
enon like Kafka actually creates his
own precursors, linking together
strings of writers not seen to be
connected before’, but it is highly
debatable to what extent Cronen-
berg does create his own precur-
sors and to what extent his work
is ever truly free of influence from For a full list of our books and journals, visit
source texts. { www.intellectbooks.com

IQ Spring 2008 | 7
journals www.intellectbooks.com

Journal of Studies in South Journal of Japanese

African Cinemas Asian Film & Media & Korean Cinema
3 Numbers/ Vol 1, 2009 3 Numbers/ Vol 1, 2009 3 Numbers/ Vol 1, 2009
ISSN 1754-9221 ISSN 1756-4921 ISSN 1756-4905
Will be available shortly in Will be available shortly in Will be available shortly in
Print & Online Print & Online Print & Online
The Journal of African Cinemas Studies in South Asian Film & The Journal of Japanese &
will explore the interactions of Media is the most promising Korean Cinema is a fully
visual and verbal narratives in peer-reviewed new journal refereed forum for the
African film. It recognizes the in the field. It is committed dissemination of scholarly
shifting paradigms that have to looking at the media work devoted to the cinemas
defined and continue to define and cinemas of the Indian of Japan and Korea and the
African cinemas. Identity and subcontinent in their social, interactions and relations
perception are interrogated political, economic, historical, between them. This new
in relation to their positions and increasingly globalized journal seeks essays for its
within diverse African film and diasporic contexts. The inaugural issue devoted to
languages. The editors are journal will evaluate these Japanese-Korean cinematic
seeking papers that expound topics in relation to class, connections.
on the identity or identities caste, gender, race, sexuality,
of Africa and its peoples and ideology. For further information
represented in film. about this journal and Call for
For further information Papers details contact:
For further information about this journal and Call for David Desser or
about this journal and Call for Papers details contact: Frances Gateward
Papers details contact: Jyotsna Kapur, Alka Kurian jjkc@live.com
Keyan G. Tomaselli or Aarti Wani
tomasell@ukzn.ac.za aaj.safm@gmail.com
or Martin Mhando

Intellect The Mill, Parnall Road, Fishponds, Bristol BS16 3JG, UK

www.intellectbooks.com/ orders@intellectbooks.com

publishers of original thinking
publishers of original thinking

Critical Approaches to
French-language Comic Strip
By Ann Miller

The cultural profile and popularity of bande dessinée is at its highest ever in
France and is being increasingly read and studied worldwide. Ann Miller’s Reading
Bande Dessinée reflects the developing diversity of readership by providing a
framework for the academic study and critical analysis of bande dessinée.
Miller offers guidance on how to read bande dessinée as a visual narrative art
form, and also contextualizes the form within its historical and contemporary
culture. The multi-disciplinary approach to bande dessinée found in this volume,
for example literary, post-colonial and autobiographical readings, presents an
easily accessible critical understanding for students.
ISBN 9781841501772 / Paperback / 272 pages / £19.95 / $40

Intellect The Mill, Parnall Road, Fishponds, Bristol BS16 3JG, UK
www.intellectbooks.com/ orders@intellectbooks.com
Theatre & Performance
iQuote » “In the theatre the audience want to be surprised - but by things that they expect.” – Tristan Bernard

intellect Book Focus

British Pantomime
By Millie Taylor

As Peter Nichols says in his bearing a limited resemblance to

introduction to Poppy (1991) ‘the the performance; the inclusion of
Christmas pantomime is the only visual comedy routines into many
live entertainment most Brit- professional productions drawing
ish people ever see. As children on the experience and physical
they’re taken; later they take their skills of the comics employed;
own.’ While this statement may and the importance of interaction
be debatable given the popular- to the entertainment and to fulfil
ity of other entertainments such the expectations of its audiences,
as music festivals and large scale appears to offer a rather imprecise

‘pantomime can be theorized as having

a connection to an idealised past and a
utopian future even while maintaining
awareness of the political and social
reality outside the theatre and of the
theatrical illusion of the event.’
sporting events, pantomime does and fluid object of study.
have a wider audience demo- But equally, there is a unique
graphic and wider geographical opportunity here, that allows the
spread than most other British researcher to analyse not only the
theatre entertainments. Given this traces, but to experience the event,
popularity it is perplexing that talk to practitioners and creators
there has been a lack of analysis and explore the sense of continu-
or theorizing of the form, though ity with the past at the same time
there have been several histories. as documenting evolution in
One of the reasons claimed response to politics, social change
Top for this is the elitism of aca- and technological developments.
Ugly Sisters in the hairdressing
demia, which is difficult to accept Pantomime producers adver-
scene of Cinderella
Above given the wealth of writing on tise their product as ‘traditional’,
Daisy the Cow in other forms of popular theatre. but there is no historical time at
Jack and the Beanstalk
However, the nature of panto- which the form was fixed or at
mime: its development through which the ‘traditional’ product
a largely oral tradition with many being advertised would have
scripts unpublished and only been current. What it points to

10 | Thinking in Colour
Pantomime ���������

iQuote » “Doubt tempers belief with sanity.” – B. Kruger

instead is the importance of a
sense of continuity, familiarity ���������������������������������
and nostalgia for a romanticized British Pantomime ������������������������������������
past that is clearly fundamental Performance ��������������������������������
to pantomime’s advertising and Millie Taylor
performance. This is reflected in £19.95, $40 ���������������������������������������
the story, which is well known as ISBN 9781841501741
myth or fairy story, the characters, ��������������������������������������
archetypes whose relationships ������������������������������������
function through engagement ����������������������������������������
in action, and the structures and
practices of the performance
event, which include transforma-
tion scenes, songs and dances,
comedy routines and audience ���������������������������������������
interactions. �������������������������������������
At the same time the pan-
tomime is seen as belonging to Millie Taylor’s original analysis of
the contemporary experience of contemporary British pantomime ����������������������������������������
the time and place of its perfor- addresses the question of how pan- ������������������������������������
mance. Performers are drawn tomime creates a unique interactive �����������������������������������
from television or radio and make relationship with, and potentially
reference to the celebrity that transformative experience for, its
connects them to the awareness audiences. Pantomime draws audi- ������������������������������������������
of their audiences. Comedians ences into a story, an engagement �������������������������������������
refer to local towns or districts, with the hero and an empathetic at- ����������������������������
shops or industries and issues in tachment to the success of the quest.
local or national politics. Reflexive The comedians draw the audience ������������������������������������
references continually remind the into a relationship of complicity
audience of the present and there as they unite to create the unique ������������������������������������������
is an absence of theatrical illusion experience of the live interactive �����������������������������������������
so that the utopian story of happy performance. At other times the ���������������������������������������
ever after consciously entwines artifice of dance, the illusion of
with an awareness of the distance transformation and the surreal
between that story and the lived playfulness of physical and verbal �������������������������������������
reality of the audience. There is a comedy divert the audience. This ���������������������������������������
third layer of performance, which definitive book explores the trick of �����������������
is the artistry of singers and danc- pantomime: to maintain an effective
ers who reveal an admirable level balance between the intellectual
of technical virtuosity, even as it is appreciation of artifice, the chaotic ��������������������������
undermined by the comics. complicity of interactivity, and the �������������������������
So pantomime can be theo- emotional engagement of story-tell-
rized as having a connection to an ing. British Pantomime Performance
idealized past and a utopian future is an accessible and valuable text
even while maintaining awareness that encourages readers to review
of the political and social reality their assumptions about pantomime
outside the theatre and of the the- and reconsider its importance as a
atrical illusion of the event. { popular theatre form. ������������������������������������������
Art & Design
iQuote » “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” – Andrew Wyeth

intellect Book Focus

International Dialogues about

Visual Culture, Education and Art
By Rachel Mason and Teresa Eça

This book originated in

a congress organized by the In-
ternational Society for Education
through Art (InSEA) in Portugal
that debated issues of interna-
tional 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 orga-
nized the content around global
perspectives on art education,
discussion of theory and practice
located in critical pedagogy,
existing projects involving new
technologies, projects targeted
at community and environment
and those focusing on art educa-
tion for peace.
The first few chapters of-
fer contrasting viewpoints on
globalization, creativity and
visual-arts education. One exam-
ines the strategies for mobiliz-
ing culture and creativity in and
through arts in education and
community across the South in the Cayman Islands and the trade union movements in Bra- ary schools. It details a project
Pacific. Another reports on how National Gallery’s search to zil. Other contributions examine that integrated art with hyper-
folk arts are being harnessed by determine authentic, aesthetic issues of multiculturalism, media story-telling in Germany
development programmes to ed- standards and goals. citizenship and democracy in and examines multimedia work-
ucate rural areas of developing The ‘Critical Pedagogy’ sec- art education theory, policy and shops implemented in a special
countries. The section addresses tion has two contributions from practice arising in the United needs school and a museum in
an interest in creativity among Brazil. The first argues for radi- States and Britain. Japan. Two of the initiatives ex-
policy-makers in post-industrial cal reform of arts curricula and ‘New Technologies’ recounts plored originate in Australia: in
societies and the conflicting the second examines the teach- the ‘blended learning’ in teacher one the visual arts were utilized
positions in educational policy- ing of cultural literacy developed education in Spain and the de- to address issues of sustain-
making. This is concluded with through collaboration with velopment of a European-wide ability of small communities
reports on current arts practice landless, indigenous people and visual-arts network for second- in rural Queensland and in the

12 | Thinking in Colour
International Dialogues
iQuote » “I merely took the energy it takes to pout and wrote some blues.” – Duke Ellington

other to address the problem of

‘...a significant number of conserving the marine ecosys-
International Dialogues
chapters in this book explore tem in developing nations. This
about Visual Culture,
section also includes an account
pioneering interdisciplinary of a small-scale ecological col- Education and Art
applications of art education and laboration between a univer- Edited by Teresa Eça
sity art teacher and the Save the and Rachel Mason
innovative technologies.’ Redwood League in California. £19.95, $40
In the last environmental and ISBN 9781841501673
community-based project, trav-
elling artists and educators set
Mirror self-portrait with
out to support local livelihoods
imaginary attributes and strengthen communities in
Below northern Scandinavia.
Mirror self-portrait with
imaginary attributes
Finally, the section entitled
All images © Nelson Hoedekie ‘Art Education for Peace’ critical-
ly analyses the approaches taken
by Israeli art teachers in teaching
students with continuous experi-
ence of war and included an ac-
count of an Art for Peace project The 2006 InSEA conference’s aim
with British-born Muslim girls. was to facilitate debate in higher
There are paintings of the Iraqi art education on an international
war by children in Sweden and a basis. With global contributions,
method of diagnosing post-trau- International Dialogues about
matic stress through children’s Visual Culture, Education and
drawings developed in Cyprus. Art reflects this aim, discussing
As this brief summary themes in higher art education in
shows, a significant number of order to help solve global issues
chapters in this book explore surrounding the subject. This
pioneering interdisciplinary diverse collection focuses on global
applications of art education themes in art education, ranging
and innovative technologies. from discussions of educational
We believe that it contains new policy and art theory to art projects
visions and ideas and that it will based on international political
find readership amongst those issues. This political aspect of art
interested in cross-cultural and education illustrated through com-
multicultural issues in art educa- munity projects offers the volume
tion, and appeal to an interna- to a wide audience, from art educa-
tional audience. The references tors to scholars to those interested
to social injustices and conflict in the relationship between politics
link to a larger socio-political and art. International Dialogues
picture and will attract a wider about Visual Culture, Education
audience than simply art educa- and Art engages with new, often
tors. International Dialogues also unheard voices, offering a repre-
benefits from examples of best sentative discussion of global art
practice and lavish illustrations. education issues.
www.intellectbooks.com {

IQ Spring 2008 | 13
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

What’s unique about the Jour- and a model Spitfire a German

nal of War and Culture Studies? POW had made for him were all he
Debra: The journal builds on the communicated to me about his war
work of our research group, the experiences. Along with an adoles-
Group for War and Culture Studies, cent interest in British literature of
whose emphasis is broadly on the the First World War, they led me to
complex relationships between consider cultural representations
war and culture, and specifically of war as perhaps the only means
on culture in the sense of ‘cultural available to me to understand
artefacts’ rather than the some- what my grandfather’s generation
times ill-defined ‘cultural studies’. had experienced. My decision to
I’m immensely proud to know that specialize in French, however, was
this work is seen by scholars in the unrelated – I chose to study French
field as revolutionizing the study of at university mainly out of a love of
the cultural history of war, through travel. I’ve been lucky in that, both
an approach based on representa- as an undergraduate and since,
tion, memory and identity. I think I’ve been able to marry these two
the fact that the group grew out of a interests. GWACS and the journal
The Editors of Intellect’s recently Department of Modern Languages, have been crucial in this.

launched Journal of War and Culture in fact French, and therefore liter-
ary, linguistic and cultural studies
Debra: It’s interesting that Martin
dates his interest in war and culture
Studies share their thoughts on their rather than history, is key to under- to the experiences of his family.
standing its uniqueness. I’d say the same, I was transfixed
interest in the effects of war, and Are you in ‘French’ or ‘War’ by my mother’s stories of growing
working together as a team. Studies, then? up in the Second World War she
Martin: I have a foot in each camp, was a teenager living in the heav-
if you’ll excuse the military pun. I ily bombed industrial heartland
think that my interest in war and of Britain. My father was in the
culture studies dates back further merchant navy, accompanying the
than my interest in French culture American fleet – but he also is still
though. When I was a child, I’d reticent when talking about his
pester my grandfather, who served experiences. The other formative
with the RAF from its early years to influence was the groundbreaking
the 1950s, for war stories. I could 1970s television series The World at
never get him to tell me anything War, which I watched avidly with
about the war, he’d always skirt my mother when I was a teenager.
around it. When he died, he left I’m just delighted that Jerry Kuehl,
Above Professor Debra Kelly and Helena Scott, editorial coordinator
me his photograph albums from the Associate Producer of that
‘The Journal is providing another academic forum in which these encounters can take place.’ the 1930s and 1940s. These images series, is a member of GWACS ¥

14 | Thinking in Colour
geek... At Intellect we appreciate the
fact that ideas are hard to come
by. A good idea doesn’t grow
on trees, but rather needs to be
nurtured over time with lots of
consideration. Intellect only take
on the best ideas for our books
*nb. We consider these to be terms of endearment. and journals. Why not try us out?
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 that point. The high point for me
of the journal. I could never have was when Douglas Johnson, the
imagined back then that I’d grow renowned historian who died in
up to meet and work with people 2005, asked me a question follow-
who actually created such iconic ing my paper. It showed that not
cultural moments. only had he listened carefully to my
Picking up on Martin’s last paper, but that he was genuinely
point – so, the research environ- interested in what I had to say.
ment of the GWACS and now Debra: Yes, Douglas was a huge
the Journal is a supportive one? supporter of our work in the early
Nikki: I was two years into my years – and was suitably indignant
Ph.D. but had also recently taken when the French Embassy rang
up my first full-time post as Lec- him to enquire who these women
turer in European Studies at Sussex were (the core group was all-fe-
University when a rather perplex- male at that time, highly unusual
ing message was passed on to me: in itself in the field of war studies)
would I call Valerie Holman (now who were bringing up all sorts of
a member of our Editorial Board), stuff about France and war. He ‘One of the maddest nal at a big conference on Memory
about the Franco-Indochinese war? soon enlightened them as to our and Conflict held at Swansea Uni-
Upshot: would I give a paper at the credentials and aims! Our interests moments was versity in September, before a
first GWACS conference on France are much wider now of course. when Martin and I London launch later last year. By
at war in the twentieth century? Far The very nature of war means that that point we weren’t about to be
be it from a rookie to turn down scholars cannot remain entrenched huddled over poorly distracted from our task by the fact
such an offer, so I blithely agreed, (sorry!) within nationally defined printed Google maps that we’d managed to direct our-
knowing full well that my (still approaches; at some point we selves into a labyrinthine industrial
unfinished!) Ph.D. stopped firmly come up against the ‘other side’. with mobile phones estate just off the M4 rather than
in 1939, and I hadn’t even begun to The GWACS and the journal now in hand, trying to our Chief Editor’s genteel pad on
delve into the murky 1945-54 years. extend primarily across Europe, but the Surrey border. I was moving
I needn’t have panicked however also to other geographical areas locate Debra’s far- house and job just as we were go-
as the conference provided an involved in conflicts from the twen- flung abode for a ing to press, and I remember Ravi
extremely supportive environment tieth century onwards. Listening (our Journal manager) calling me
in which to venture into new areas to Nikki and Martin, I’d add that
final chew over our to say he finally had the first issue
of research. That first foray into I’m also incredibly proud that one assembled articles.’ in his hands. It had been touch
war and culture studies meant that of the most important aspects of and go whether the printers would
I met a great number of people our work has been, and continues we work in three different univer- manage to do the job in time, plus
who’ve proved immensely inspi- to be, that very fostering of new sities and three different cities. they had also had to deal with
rational, encouraging and helpful research in war and culture studies, One of the maddest moments was the fact that they were printing
to my subsequent endeavours. I’ve and of cultivating and encourag- when Martin and I huddled over the first ever Intellect publication
loved working with GWACS and ing young researchers – we have a poorly printed Google maps with on FSC paper 1 which is for them
now the journal, and they’ve both reputation for being a good place mobile phones in hand, trying to (and us) a landmark event. We’re
greatly enriched the focus and for doctoral students to try out locate Debra’s far-flung abode for hoping that the Journal of War and
range of my work. their work. The journal is providing a final chew over our assembled Culture Studies can continue to build
Martin: I also gave my first confer- another academic forum in which articles. We’d pulled out all the on its very innovative start. {
ence paper at a GWACS annual these encounters can take place. stops and called in all our favours
conference - this was the second Can you tell us about working (thanks Editorial Board!) to get the 1
FSC = Forest Stewardship Council.
one on memory and the experience on the first issue. first issue together in record time. For further explanation see Luke Roberts’
of war. There I met people whose Nikki: Getting the first issue to- This was in response to Intellect’s article ‘The Future’s Bright and Most
work I’d only been reading up until gether was a huge challenge, since proposal that we present the jour- Definitely Green’ on page 30.

16 | Thinking in Colour
publishers of original thinking

Declarations of
American Cinema
and the Partiality
of Independent

The Soundtrack
Production Editors: Stephen Deutsch,
By John Berra Larry Sider and Dominic Power
£19.95 / ISBN 9781841501857 ISSN: 1751-4193

224pp / March 2008 2008 / 3 issues per year

Truth or Dare: Studies in

Art and Documentary Documentary Film
New titles from Intellect Edited by Cahal McLaughlin Editor: Deane Williams
and Gail Pearce ISSN: 1750-3280
£19.95 / ISBN 9781841501758 2007 / 3 issues per year
144pp / January 2008
Journal of Adaptation
David Cronenberg: in Film & Performance
Author or Film-maker? Editors: Richard Hand
By Mark Browning and Katja Krebs
£19.95 / ISBN 9781841501734 ISSN: 1753-6421
208pp / October 2007 2008 / 3 issues per year

Intellect The Mill, Parnall Road, Fishponds, Bristol BS16 3JG, UK
www.intellectbooks.com/ orders@intellectbooks.com
Theatre & Performance
iQuote » “Let a single complete action, in one place and one day, keep the theatre packed to the last.” – N. Boileau

intellect Book Focus

The Fire
& The Fury
Lovefuries, a second volume of plays by David Ian Rabey, has
been recently published by Intellect part of the Playtext series,
(published March 2008). This follows the acclaimed first
volume, The Wye Plays (‘fierce, muscular texts in the spirit of
Artaud and John Clare.’ – Iain Sinclair), published in 2004.
Here, the playwright provides invaluable insight into his text.

Lovefuries is a double as part of an investigation, and

bill of texts for performance, by a conversation with a friend.
which began its theatrical life After these I was shaken by a
in Wales in 2004, transferred pitch-black nightmare dominat-
to Dublin’s theatre festival ed by the chant of an old novelty
(earning a four-star accolade soul record (‘I Am The Judge’)
in The Irish Times), and then and by a dramatic proposition
returned to Cardiff for that both terrified me and dared
production in The Wales me to write it: an appalling ritual
Millennium Centre in 2005. of confrontation, invocation,
In the first text, The Contracting possession and casting out,
Sea, a woman stands on a coast- which turned things associated
Antoinette Walsh as Elisheba in line and struggles to come to with legal and religious ritual
The Contracting Sea terms with the sudden absence into a voodoo black mass.
Right of her shipwrecked lover. As The police investigation and
Antoinette Walsh as Morgana in
The Contracting Sea she explores her own affliction, the conversation both related to
anger and isolation, a new voice the case of a respected drama
tears out of her: that of a fiercely teacher and television drama-
wilful embodiment of catastro- tist who sexually abused his
phe, part seductress, part sea- pupils for more than a de-
witch, who discovers defiance cade. Facing prosecution on
in the surprising resurgences five charges, he committed
of sexuality and erotic initia- suicide on the day before he
tive which break through grief. was due to stand trial.
In the second text, The Hang- In The Hanging Judge, the
ing Judge, a boy works out his protagonist discovers and
rage against an abuser whose confronts within himself the
suicide has denied him closure. internalized voice of his former
This play is not directly autobio- teacher and sexual oppres-
graphical, though was informed sor. Indeed, beyond the play’s
by my experience of being inter- scenario of abused trust, I think
viewed as a witness by the police there may be a Hanging Judge

18 | Thinking in Colour
Theatre & Performance
iQuote » “Creativity requires the courage to let go of certainties.” – Erich Fromm

in us all – an internalised voice, theatre and make a specifically

perhaps in the tone of a forma- theatrical riposte to his conduct.
tive authority, which mocks our Attending the premiere of ‘I think there may be a Hanging Judge
achievements, dismisses our Lovefuries, the major dramatist in us all – an internalized voice, ...in
worth and is witheringly reduc- David Rudkin observed how
tive of all our possibilities. both texts insisted the per- the tone of a formative authority,
Thematically, both pieces
are linked by the experience
formers become ‘dangerously
erotic presences in the space’;
which mocks our achievements, dis-
of grief at the loss of a lover, ‘The first is almost a song for misses our worth and is witheringly
and by the voice and psyche of
each protagonist splintering
a woman cursing the loss of
her lover to the sea’s elemental
reductive of all our possibilities.’
into two, in ways that mock the bargaining. Terse prose con-
ultimate dominion of death. geals to a harsh uningratiating
As a practical drama teacher, poetry that can ambush us with
I personally resent the disgrac- sudden fierce epiphanies. The
ing of my profession and my second would offer an ideal
artistic medium through one project for a young actor seek-
man’s exercise of power without ing to transmute his personal
responsibility. I leave you to anger into an objective illuminat-
imagine my feelings about what ing force. The language here is
he did to the lives of some of my brutalized, sometimes regressed
friends. It seemed appropriate – to an effect almost Mahlerian,
to me to repossess the form of for the rage is murderous’. {

plays by David Ian Rabey
part of the Playtext Series
£14.95, $25
ISBN 9781841501840
Lovefuries offers a double bill of performance
pieces which explode national and personal
pressures to keep silent, and explore the surprising and shocking resur-
gences of life that break through grief. In The Contracting Sea, the fiancée
of a just-shipwrecked sailor is challenged by a feminine elemental force
of catastrophe, to throw off the shackles of her common humanity. The
second play, The Hanging Judge, explores from the inside an occurrence
of sexual abuse in a contemporary Welsh context, and how one survivor
finds the courage to discover defiance. This second volume of dramatist-
director Rabey’s plays for his own Lurking Truth/Gwir sy’n Llechu theatre
company also includes the short two-hander Bite or Suck, completing a
collection of innovative drama which pursues a restless exploration of
the contradictory impulses in human sexualities through poetic, explicit,
theatrical explorations of what is possible at the extreme boundaries of
human language and physicality.
Above Roger Owen as Fury in The Hanging Judge

IQ Spring 2008 | 19
Media & Culture
iQuote » “The Law of Raspberry Jam: the wider any culture is spread, the thinner it gets.” – Alvin Toffler

intellect Book Focus

The UK’s Switch To Digital Television

Ready or not, here it comes... By Michael Starks

October 2007 saw the first ground. They jumped at the op- Below timetable for completing switchover throughout the UK (Vismedia)
switch-off of conventional analogue portunity digital terrestrial technol-
television in the UK - in the small ogy gave them to enter the field of
town of Whitehaven in Cumbria. multi-channel TV. The government
This marked the start of a region- welcomed the possibility of reclaim-
by-region process which will extend ing spectrum through switchover.
until the end of 2012. At that point However, a hasty launch, with im-
the UK will have converted fully to mature technology, was one of the
digital television, based on terres- factors behind ITV Digital’s collapse
trial, satellite, cable and broadband in 2002 and analogue switch-off
transmission - the culmination of a only became feasible in the UK after
long transition process that began the subsequent success of Freeview.
with the launch of digital television The relatively late date for com-
back in 1998. pletion is the result of four factors:
The UK was the first country to 1/ In several other countries the
start national digital terrestrial tele- role of cable and satellite is much
vision and, at 84 per cent of homes greater than in the UK, leaving
now, it has the highest digital take- analogue terrestrial as a relatively
up in the world. unimportant means of reception
However, the Netherlands – which, of course, makes the
switched off its analogue terres- political challenge of switching it
trial TV at the end of 2006. Finland off much less daunting.
and Sweden followed in 2007. The
2/ Because switchover was such
United States has committed to
a distant prospect when digital
2009. Germany and Switzerland are
terrestrial was first planned, a new
expected to complete their regional-
frequency plan had to be devel-
ly phased switch-offs by 2010. Japan
oped for switchover - so the opera-
is targeting 2011. France, among
tional practicalities are complex.
others, aims to have completed by
then too. 3/ Having cautiously positioned ‘a hasty launch, with immature
So why does the UK have such a
protracted timetable to the switch-
itself as facilitating, rather than
leading, a broadcasting technology
technology, was one of the factors
off, spanning fifteen years, when change, the government consulted behind ITV Digital’s collapse in
the terrestrial broadcasters on the
others can start later and finish
earlier? timetable: since the commercial 2002 and analogue switch-off only
The early start was a conse- broadcasters stood to lose market became feasible in the UK after the
quence of the failure of the BBC share, they were in no hurry.
and ITV to establish themselves 4/ UK policy is based on replicating
subsequent success of Freeview.’
on analogue satellite, when in analogue terrestrial’s 98.5 per cent
the 1980s BSkyB left them on the coverage with digital terrestrial,

20 | Thinking in Colour
Media & Culture
iQuote » “Culture is to know the best that has been said and thought in the world” – Matthew Arnold

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

As the permanent switch from analogue terrestrial to digital television

grows closer, Switching to Digital Television: UK Public Policy and the
Market examines the problematic policies, politics and consumerism
that lie behind the decision to go digital.
Since the birth of digital television in the UK in 1998, the contro-
versial trend to switch over completely has raised many questions
regarding the potential effects across the technologically advanced
world. This book explores the essentially political challenge of switch-
‘The UK’s protracted switch over ing off analogue and unwraps the issue that politicians and industry
timetable does give reluctant consumers regulators are responsible for altering the lives of consumers, unset-
tling a generation who have grown up with analogue as the norm, and
plenty of time to get used to the idea...’ shutting down the source of entertainment and information to which
so many have become accustomed.
At the heart of Starks’ response is the complexity of technological
requiring over 1000 small trans- tion terrestrial TV. The UK has progress and the ways in which the decision to make digital compul-
mitters for the last 4 or 5 per cent: enjoyed advantages from starting sory affects nearly every household in the UK. This cutting edge book
in Germany, for example, digital early and achieving high take-up introduces the reader to these ideas and explores every angle of the
satellite is deemed a satisfactory but, with such a long transition dilemma. In addition to the UK experience, Starks brings in compara-
substitute in remote areas. period, staying at the forefront of tive studies with the United States, Japan and the leading media forces
digital terrestrial technology is not of Western Europe to support his thought-provoking hypothesis.
The UK’s protracted switcho- one of them. {
ver timetable does give reluctant
consumers plenty of time to get Michael Starks is an associate
used to the idea, but it will slow of the Programme in Comparative
down the transition to high-defini- Media Law and Policy at Oxford.

online Be sure to visit

the Intellect
website for a
list of our books
and journals.
Q&A: John Scheinfeld
iQuote » “A good opening and a good ending make for a good film provide they come close together.” – Federico Fellini

intellect People Focus

John Scheinfeld
An interview with the Director of The U.S. vs.
John Lennon By Parviz Jahed
The US vs. John Lennon is a powerful and thoughtful documentary film about
the political views of John Lennon, his peace campaign against the Vietnam
War and American military and the subsequent treatment he endured by
the FBI and the American government during the 1960s and 70s. Screened
at last year’s ‘London Film Festival’, film makers John Scheinfeld and Da-
vid Leaf portray a new image of John Lennon by putting together some
never before seen archival material alongside provocative and insightful
interviews with those who knew Lennon well, such as the Black Panthers
leader Bobby Seale and radical figures like Abbie Hoffman and Jerry Rubin.
I met John Scheinfeld over breakfast at the Sofitel St James Hotel in central
London during the London Film Festival. In this interview he talks about
the movie, American policy and political documentaries.

Parviz Jahed: Is this your first essence he’s the narrator, because
documentary film? who better than him telling us his
John Scheinfeld: I have done docs story? The challenge of this kind
for about thirteen years, many of film is how to piece together
of them for television, but this is a coherent narrative without
our first feature film documentary anybody tying things together. It
that’s been distributed nationally was very difficult, but we made
and internationally, so we’re very it work, because we have such
excited about that. We feel that extraordinary voices in this docu-
the issues dealt with in this film mentary: smart people, thought-
are issues that many different ful people, eloquent people who
countries face: freedom of speech, said the things we wanted to say,

‘people seem to want to watch political government’s abuse of power and

pop culture.
and by connecting them together
the story gets told.
documentaries - they don’t make as
P.J: You didn’t use a voice over P.J: And you had intellectual
much money as Mission Impossible 3, in the film – a technique used figures like Noam Chomsky,
but there is an audience for them and a lot in documentaries to help
the audience make sense of
Tarik Ali and Gore Vidal who
give us a very controversial
I think that’s great, because it allows the story – was there a reason portrait of John Lennon. How
us to tell different kinds of stories.’ for this?
J.S: I’m glad you noticed. We did
did you manage to do that?
J.S: We have a reputation in our
that purposefully as we wanted business for doing very smart,
John Lennon to be the narrator thoughtful and responsible films,
–so in all the film clips in which not tabloids. So when we come
he appears and talks, in excerpts, calling and say ‘we want you to
on radio interviews on which he be in our movie’ these people
is commenting on something, in know us, and say ‘these are good

22 | Thinking in Colour
Film Studies
iQuote » “A film is a petrified fountain of thought.” – Jean Cocteau

Below The US vs. John Lennon

people, they do smart movies.’ meant was that it’s silly but they
But also when we explained our do it anyway. The government are
approach they said ‘OK. that’s afraid of people like this, it is silly
something I’ll be happy to talk but they are. He made a point that
about.’ And I think that’s mostly we couldn’t find a place for in the
what it is: an interesting approach film but is included in the DVD
to an interesting time and they bonus material, where he says that
had things to say about it. the government confuse dissent
with disloyalty, that if you say
P.J: Was there a reason you something against the government
avoided talking to other you’re being disloyal. We live in a
famous people in pop culture society where we’re supposed to
and the music industry? have freedom of speech, we’re sup-
J.S: For this film we decided posed to be allowed to express our
that we only wanted people who views on all the issues and it’s really
were there, people who were in important to do that.
Lennon’s world at that time and
people who were key figures on ‘For this film we decided that we only P.J: So does the government
the American stage at that time,
meaning political figures; social
wanted people who were there, people think of you as an anti-estab-
lishment figure?
and cultural figures. We didn’t who were in Lennon’s world at the time J.S: I’m hardly important.
want some authors who had re-
searched the 60s and wrote about and people who were key figures on P.J: I mean after making this
it, we wanted people who were the American stage, meaning political kind of film.
there. Pop stars could talk about J.S: I don’t think they pay that
John Lennon as a pop star but figures; social and cultural figures.’ much attention to this, I mean
they didn’t do what he did, and we this is no great threat to them even
just sort of felt they wouldn’t have if you look at the Dixie Chicks’
been able to offer very much. If we think that many leaders make the government’s policies are. film which was shown here on
were doing a John Lennon biogra- same mistakes that their prede- J.S: And we use Lennon as a way Wednesday night. They got into
phy, we would have gotten those cessors made. Because somehow to tell the story, but it is really some trouble over what they said
people, but this is a different story they feel: ‘I’m more important, about those bigger issues as well. about George Bush, but I think
–this is a political film, and I don’t I’m different, I won’t make the that was more an annoyance than
think pop stars had much to say same mistakes’. There is a famous P.J: Tarik Ali says in your film anything else. What we tried to
about a political film. quote from the philosopher that the threat from intel- show was that the environment
George Santayana: ‘Those who lectuals and artists towards of the 60s and 70s created such
P.J: What I got from your film do not learn from the lessons of America is a paranoia in the Nixon
was that Americans expe- history are condemned to repeat joke. But you administration and the
rienced horrible situations them. We see that in America now, try to show American government
during the 60s and 70s – with we see it in Britain now, we proba- us that John it had caused them to
the Vietnam War and such bly see it in your country Iran now. Lennon is a behave in a way that
– but didn’t learn a lesson from That the leaders have not learned real threat and was wrong. That type of
history, choosing to repeat the from the past. It’s a tragedy really, a dangerous fig- paranoia may not be the
same mistakes. Do you believe and the people suffer...as a result ure, as you say same thing we encounter
that they have no historical of what they do. ‘an anti-estab- everywhere today but
consciousness? lishment figure it could be, and it can
J.S: That’s a very good question! P.J: It is a tragedy and your of American be and I think it’s the
I think that is true with many film shows us the outcome of history’. cautionary tale of
governments, not just America. I this tragedy and the American J.S: I think what he ‘watch, otherwise you

IQ Spring 2008 | 23
024 film»feature
Q&A: John Scheinfeld
exclusive interview living alone
iQuote » “All media exist to invest our lives with artificial perceptions and arbitrary values.” – M. McLuhan

intellect Journal Focus

may be doomed to repeat that part like George Bush’s politics, and I
of history.’ don’t either! And I didn’t vote for
him. But one on one I think they
P.J: Do you think there might like Americans. When I travel to
be any censorship issues other countries, I find people re-
regarding the showing of your spect me and deal with me in a very
film in the States? nice way and they don’t feel ‘oh, it’s
J.S: No, we’ve not experienced an American’. But I think it’s the
anything. We’ve had no trouble politics and the Bush administra-
making the movie, no trouble ever tion that have alienated people.
showing it.
P.J: There seems to have been a
P.J: What is your opinion about huge increase in the making of
the anti-American wave that political documentaries since
spread out around the world? 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
Birgit Beumers
our views on all the issues and that it’s An interview with the Editor of Studies in
really important to do that.’ Russian & Soviet Cinema journal
J.S: I made a documentary in India film Fahrenheit 9/11. What do How did you come to Intellect meantime cinema studies became
and I’ve been there for a week. you think is the future for po- with SRSC? a stronger subject at universities in
Whenever we go to a foreign coun- litical feature documentaries? Intellect started a range of rather general, but also within Russian
try we hire what’s called a ‘fixer’, J.S: I hope the future for political innovative new journal titles a studies. Together with digitization
a local person who speaks the documentaries is great! People couple of years back, and I had of newly mastered old Soviet films,
language, takes care of things that seem to want to watch them, subscribed to New Cinemas which there was scope for expansion of
we need done to make the movie, people seem to make time to see had included a few pieces on courses, as well as for publications.
gets us a permit or gets us to a place them, they don’t make as much Russian cinema early on after its I was looking for a print outlet to
or introduces us to a person. And money as Mission Impossible 3, but launch. At the same time, I had complement the existing online
at the end of working for me for there is an audience for them and I been running a website devoted to publication on contemporary films
a week, he says, ‘you know John, think that’s great, because it allows new Russian cinema, and turned with a print journal on film history.
you don’t seem like an American,’ us to tell different kinds of stories. it into an online journal in 2003. When I was giving some guest
I said ‘Really? Why?’ He says: ‘You It used to be that documentaries This was at a time when Russian lectures on an MA course at Exeter,
are not fat, you are not loud, you were some nature thing, you know, cinema was just in the process of Susan Hayward (who is the editor
listen to people, are interested in the mating habits of a teensy fly or emerging from the ashes after an of Studies in French Cinema) suggest-
what people have to say and you’re something, but now you can tell all time production low of 28 films ed I should get in touch with Intel-
interested in other cultures’. And I political and social stories, you tell in 1996 and a complete collapse of lect. So I met with Robin Beecroft,
thought what was interesting about cultural stories, and I think that’s distribution and production (just who was the Journals Manager, and
that was that they thought this is a wonderful thing for film-makers think that Russia is now the fifth with Intellect’s Director Masoud
what Americans are like. They don’t like me who want to tell stories. { strongest market in the world!). Yazdani, who were very enthusi-
Gradually the site developed into a astic about the launch of such a
journal, which appears four times journal, run by some of the people
book reviews page 28 » a year but is devoted exclusively
to contemporary cinema. In the
involved in KinoKultura but joined
by a range of film historians on the

24 | Thinking in Colour
Q&A: Birgit Beumers
iQuote » “A wide screen just makes a bad film twice as bad.” – Samuel Goldwyn

editorial and advisory boards. Thus

Studies in Russian and Soviet Cinema
for their research topic. We look
for lucid arguments, competent
libraries subscribing now that
the first volume is complete
Proposing a
(SRSC) emerged … work with sources, and new
readings and interpretations. All
with three issues. University
libraries both in the UK and the
new journal
Why this strange title? articles are double peer-reviewed, US are experiencing a financial
‘Soviet’ is a term that bears no and usually we report back to crisis with regard to new journal “There is nothing more
contemporary resonance, but authors within six weeks. We also subscriptions and have established powerful than an idea
historically we need to assess over publish translations of film scripts a policy of subscribing to new whose time has come.”
70 years of film history, with ten and documents, in order to make journals only after they have –Victor Hugo
years of ‘pre-Revolutionary’ film such sources available to non- demonstrated an ability to publish Intellect is seeking editors
and fifteen years of ‘post-Soviet’ Russian speaking film scholars. issues regularly. As we begin to start new journals. We
film – and even in the definition And in each volume we provide work on the second volume of the commission journals that
here of the ‘before’ and ‘after’ we reviews of the major monographs journal, the number of university strengthen our existing port-
folio in the arts and humani-
can’t do without references to (written in either English or libraries subscribing to the journal
ties. We look for editors with
the Soviet era. The territory of the Russian) that have been published will begin to increase. exceptional leadership quali-
former USSR included Central ties. The most successful edi-
Asia, the Baltic States and other, tors are those who encourage
now independent republics that ‘The territory of the former USSR included and inspire their community
to submit articles, conduct
are in the process of rewriting Central Asia, the Baltic States and other, peer review and help in the
their film history and developing
their own industry. SRSC is keen now independent republics that are in the day-to-day development of
the journal. Committed, pas-
to include articles on the cinemas process of rewriting their film history and sionate editors who dedicate
time and thought produce
and directors of the former Soviet
republics and, indeed, on the
developing their own industry.’ the best journals.
We offer editors a full
growing regional cinemas of training in journal publishing.
Russia, such as the expanding on Russian and Soviet cinema What are the plans for the journal? This includes guidelines for
studio at Kazan, the re-emergence during the current year. We aim to have a competition for the set-up, launch and
of animation in Ekaterinburg, best postgraduate or student essay maintenance of the publica-
or the production in Khanty- What is the journal’s readership? during 2008 to be published in the tion. In addition to a journal’s
networking possibilities, we
Mansiisk by Iurgas, which last year As with all new journals, this is first issue in 2009 to encourage emphasise the need for
co-produced a film entitled Franz still in the process of formation. In young scholars. We are also cur- teamwork between Intellect
+ Polina about the Second World addition to individual readers, who rently discussing the possibility of and our editors. Publishing a
War, and recently brought out a began to subscribe with the first including a short film with a script journal is an act of collabora-
tion, negotiation and discus-
film by the Hungarian film maker issue of the journal, we anticipate publication in one of the forthcom-
sion. We encourage editors
Tomasz Tot. a significant number of university ing volumes. { to take an interest in the
entire process, including
How do you assess submissions production, marketing, sales
FURTHER READING and distribution.
and deal with contributors?
We encourage in particular young Studies in Russian & Soviet Cinema Launching successful journals
is an exciting challenge. The
authors, as well as established Edited by Birgit Beumers
long-term sustainability of
scholars. In the first issue we had Subscription: Three Issues your ideas must be planned
texts by two high-profile scholars £30 Personal / £210 Institutional carefully in order to make an
from UK and US next to an article ISSN 1750-3132 exceptional contribution to
by a UK postgraduate, who has academia.
since defended his thesis and Studies in Russian & Soviet Cinema focuses on pre-revolutionary, Soviet and Please visit this link:
post -Soviet film, its aesthetic development, and its position between ideolo- www.intellectbooks.co.uk/
is about to turn it into a book.
gy and industry. SRSC invites contributions that constitute original research. publishwithus.php
Authors don’t have to know
The journal seeks to promote research from established scholars as well as to to download a Journal Editor
Russian, but they should be able questionnaire.
encourage researchers new to the field.
to engage with all relevant sources

IQ Spring 2008 | 25
Art & Design
iQuote » “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” – Scott Adams

intellect Journal Focus

Defining the the generation and exploitation

of intellectual property’. (Creative
Industries Task Force 1998)
Leadbetter & Oakley, 1999) The
creative economy, How People make
money from ideas, (Hopkins; 2001:

Creative Industries The sectors identified within

this framework are: ‘advertising,
architecture, the art and antiques
xiii) and, Creative Industries: Contracts
between Arts and Commerce, (Caves,
2000) with our engagement with
market, crafts, design, designer copyright, patent, trademark and
Simon Roodhouse gauges the fashion, film, interactive leisure contracts mechanisms.

government’s creative industries software, music, the perform-

ing arts, publishing, software,
What is of interest in a creative
industries ‘construct’ is that it
television and radio’. (Creative provides a framework for engag-
Industries Task Force 1998) ing with both public and private
Stimulated by the ‘New stressing efficiency, effectiveness, These sub-sectors would not sectors in a fairer way, establishing
Labour’ government in the 1990s, value for money, and market forces. necessarily recognize themselves cultural activity as new industry,
the economic role and function of Smith reinforces this interpreta- as creative industries, for example and engaging with convergence
the UK’s creative industries aroused tion: ‘ensuring that the full eco- architecture has much more in arguments generated through
international interest. Chris Smith, nomic and employment impact of common with construction than advances in technology. This leads
Britain’s New Labour Secretary of the whole range of creative indus- it does with the arts and antiques to a reassessment of the traditional
State for Culture, Media and Sport, tries is acknowledged and assisted trade. This shows that the idea is a forms of government interven-
confirmed early in his ministry by government’. (Smith 1998) policy construct, which has yet to tion in support of the arts and
that the creative industries were a The DCMS’s interest and en- be recognized by those working in culture as described in Creating
growth sector of the UK economy, gagement with the creative indus- the field. a Sustainable Culture for Everybody
saying ‘It is incumbent on the tries, through the establishment of The concept of the creative in- (The Reformer, Centre for Reform,
government, in partnership with the Creative Industries Task Force dustries has more in common with Roodhouse 2002).
industry, to take active steps to (CITF), chaired by the Secretary the emerging global economic in-
promote economic growth in the of State for Culture, Media and terest in the knowledge economy, These and other related issues are
creative and cultural sector. If we Sport, cannot be seen as anything This is typified in ‘The Independents: to be investigated in the Creative
do not do so, then others will reap other than a direct engagement by Britain’s New Cultural Entrepreneurs’, Industries Journal. {

‘What is of interest in the idea of a creative FURTHER READING

industries ‘construct’ is that it provides a Creative Industries Journal
framework for engaging with both public Edited by Simon Roodhouse
and private sectors in a fairer way...’ Subscription: Three Issues
£30 Personal / £210 Institutional
the economic reward’. (Creative government in creative activity for ISSN 1471-5880 / Volume 1, 2009
Industries Task Force 1998) economic gain.
The scope of the journal is a global one, aimed at those studying and prac-
As a result, the creative indus- Through the Creative Indus-
ticing activities which have their origin in individual creativity, skill and
try concept has been set out in one tries Task Force, the government talent, and which have a potential for wealth creation. These activities
of four key policy themes for the then set about defining what primarily take place in advertising, architecture, the art and antiques
Department for Culture, Media they meant by the term ‘creative market, crafts, design, fashion, film, interactive leisure software, music,
and Sport (DCMS) economic value. industries’. The concept stemmed the performing arts, publishing, television and radio. The journal provides
The other three themes, access, from an interest in the knowledge a forum to challenge definitional assumptions, advance the social, eco-
excellence, and education, are economy, and the definition was nomic, cultural, and political understanding and engagement with the
creative industries at local, national and trans-national levels. The journal
perhaps the predictable interests largely pragmatic; ‘those activities
welcomes articles based on a critical engagement with the creative in-
of any Labour government. which have their origin in indi- dustries concept from theoretical and practice perspectives. In addition
It does seem, however, that vidual creativity, skill and talent, it will set out to encourage critical writing on private sector activity as
the theme of economic value is a and which have a potential for well as the publicly funded.
maturing of the Thatcherite ethos, wealth and job creation through

26 | Thinking in Colour
– noun 1.a person devoted to reading or studying.

Our objective is always to support

our authors by bringing their
ideas to as wide a readership as
possible, and we continuously
strive to find new and innovative
ways of achieving this. Whether
you are a reader or a potential
author, we warmly welcome you
to our community, and we would
intellect publishers of original thinking be happy to hear from you.
Book Reviews
iQuote » “Writing is the best way to talk without being interrupted.” – Jules Renard

Below left Golem/Loew © Suzanne Treister

Below Time Travelling with Rosalind Brodsky

ART & DESIGN There is perhaps also an over-

Videogames and Art emphasis on the ‘First Person
Shooter’ (FPS) and the concurrent
Edited by Andy Clarke and development of ‘machinima’, a
Grethe Mitchell now common practice in which
ISBN 9781841501420 the game engine is hijacked
by the artist or fan to create a
Hardback, 230x174mm modification (mod) in the form
Published March 2007 of a new game or a movie. The
Reviewed by Dean Bowman following section of interviews,
however, is quite fascinating
and includes discussions with
In a little over twenty years territory of what the editors artists who are attempting to set
the games industry has become have called ‘videogames art’; up an interactive counterpart to
worth four times that of the the second providing specific a real-life gallery within Sims.
global film industry, and although case studies and interviews Two ferociously independent
few would dispute its cultural with practitioners; and a final Australian games designers
influence, many deny its claims section that asks the question can discuss their work on the game chapter, happily, moves beyond
to the hallowed category of art. videogames be considered art? Escape from Woomera, which reveals Pacman and Doom, treating gaming
Simultaneously the art world has on its own terms with a little more
been drawing on gaming, and the ‘Just as writers like Andre Bazin were indispensable depth and respect. It includes
recent inclusion of The House of in elevating film as an art, similar voices are needed a fascinating essay on Japanese
Osama Bin Laden (Langlands and aesthetics, in which gaming is
Bell 2003) on the Turner Prize is
for gaming to be taken seriously. Some of those rooted, including the function
an indication of this new direction. voices can already be faintly heard in this book.’ of ‘Mono no Aware’ (‘pathos’)
This is the starting point for Andy in Final Fantasy and likening the
Clarke and Grethe Mitchell’s isometric camera angle in the Sims
groundbreaking collection of to Heian period paintings and the
essays Videogames and Art, which domestic focus to the cinema of
seeks to explore the complex and Yasujiro Ozu.
fascinating relationship between There aren’t that many books
the two mediums. on the subject of gaming and
Although the book is quite art, which makes this one an
informative, those coming to it important milestone in itself, and
from a gamer’s perspective are it certainly contains a lot of food
sure to be a little disappointed for thought. The final chapter is
when at first the book’s editors a kind of call to arms, insisting
spend a mere few paragraphs that the game industry needs,
dismissing videogames as too amongst other things, critics not
commercial to be considered just reviewers. Just as writers like
art. Fortunately this view seems Andre Bazin were indispensable
to be taken to task within many in elevating film as an art, similar
of the individual, far-ranging Of these three sections the plight of the immigrant in voices are needed for gaming
essays penned by critics, artists the first is often frustratingly Australia within the context of to be taken seriously. Some of
and those on the fringes of the single-minded in its focus on the an adventure RPG, exploring the those voices can already be faintly
industry (what we might call established art world and more key functions of empathy and heard in this book. Let’s hope
an independent games scene). often than not treats videogames identification within gaming and we see a follow-up in the form of
The book is divided into three with sweeping generalizations how these can be deployed to ‘Videogames as Art’. {
sections: the first charting the and haughty condescension. politicized ends by artists. The last

28 | Thinking in Colour
Book Reviews
iQuote » “ Better to write for yourself and have no public, than to write for the public and have no self.” – Cyril Connolly

Below Desk with Lamp by Stephen Duncalf Bottom Rust by John Laven

ART & DESIGN An important section of this great work at a young age, what
Why We Make Art book is a collection of personal about Egon Schiele who produced
testimonies on art-making. The remarkable and original work
and Why it is Taught interviewees range from children, before the age of 20 and was dead
By Richard Hickman teachers and amateur artists to before the age of 29? Here a little
professional artists. There is a art historical context and a pinch
ISBN 9781841501260 case for publication of a larger of salt might have gone a long way.
Paperback 176 pages collection of such responses with Another blind spot seems to
Published August 2005 brief analyses from the author be higher education. Apart from
Review by Alexander which might serve as a sourcebook a brief discussion, art colleges are
Adams, artist and critic for those involved in art education. not touched on in a significant
with CAP gallery, London The otherwise perspicacious way, though the author’s long

In this book, Richard and balanced when they are ‘There is plenty of sympathy here for teachers caught
Hickman, Lecturer in education at nothing of the sort, as as much an between imperatives of measuring almost intangible
the University of Cambridge, takes impediment to creativity as a spur.
issue with post-structuralists, There is plenty of sympathy qualities to pseudo-objective standards and the
who posit the death of the self here for teachers caught between desire to foster joyful creativity in children.’
and claim all values to be relative, imperatives of measuring almost
by asserting the importance of intangible qualities to pseudo-
child-centred learning with an objective standards and the
emphasis on self-expression. desire to foster joyful creativity in
He tackles discipline-based (as children. Hickman points out the
opposed to individual-based) deleterious effect of not teaching
learning approaches which basic skills. Learners – of all
demand all artistic production be ages – become understandably
contextualized. ‘It is, of course, frustrated by not being able to
important for young people to depict what they see around them.
know about and understand the To bombard students with context
incredibly diverse nature of visual and interpretative approaches Hickman swallows whole the experience of observing younger
culture,’ writes Hickman, ‘but whilst at the same time depriving statement: ‘It takes about a decade learners (and their teachers)
not at the expense of depriving them of a useful tool for self- for people to master a domain shines through in his considered
them of opportunities for creative expression is the worst of both and up to an additional decade and humane approach to this
self-expression.’ He identifies worlds. Furthermore, Hickman for them to fashion work that important subject. This study
encounters with taught art history, asks why ‘assessment of items that is creative enough to alter that is a valuable counter balance to
those which come too early and look like art objects’ should be domain’. While it is true that target-centred art and education
which appear to be comprehensive seen as evidence of learning. child prodigies don’t produce administrators. {

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IQ Spring 2008 | 29
iQuote » “There is more pleasure to building castles in the air than on the ground.” – Edward Gibbon

intellect comment

in forthcoming years.
These commitments are just Testimonials...
the first few steps. The next stage
‘As an editor, what I like best
is to write an Environmental Policy about Intellect is the combination
document. We aim to finalize this of genuine concern, constructive
document in September 2008 advice, and unequivocal respect for
and put it into practice thereafter. the editors’ ultimate choices. The
Our commitment today, and people at Intellect are pros at what
for future years, is to continue a they do, which allows us as editors
to focus on our job – finding the
gradual migration towards more
best texts.’
sustainable, environmentally – Daniel Lindvall,
friendly practices. In this process Editor of Film International
we shall solidify our aims and
achievements into a coherent ‘I am very pleased to find out that
environmental policy. there is a publisher of ‘original
thinking’. It gives the feeling that
your published books are unique
and meaningful. This is not a
Intellect currently recycles most of standard usually found in other
its office paper. publishers.’
– Harold Savage

The future’s bright, and We aim by 2010 to print 100

per cent of our journals on FSC ‘I first became aware of Intellect

it’s most definitely green

Press through your advertisements
paper. All Intellect books are
in Sight & Sound magazine which
already being printed on FSC prominently displayed some
paper. We integrate questions particularly fine artworks. Covers
Intellect’s environmental policy of environmental sustainability for titles like Hollywood Utopia and
as part of our print buying Cinemas of the Other are intelligent,
negotiations. We have discovered well-chosen designs that are
Increasing numbers of our environmental practices. that, in making a gradual shift suggestive of texts that offer unique
depth and insight in a presently
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facing up to their environmental PRINTING: up-front cost of doing so can be The artworks for new Intellect
impact. In 2007, the words Intellect now uses white 100 per negligible. Moreover, we hope titles such as Point Blank, Switching
‘carbon footprint’ have become cent recycled paper for most that the long term benefits of to Digital Television and Allegorical
part of everyday language. In the internal printing jobs. At the time taking responsibility for the Images expertly integrate image with
publishing industry, which still of writing, the first issue of the environmental impact of our theme in a manner that is at once
relies heavily on paper and ink, Journal of War & Culture Studies has production and marketing needs subtle and distinctly eye-catching.’
consideration for the environment been published on FSC (Forest will be greatly beneficial to our – John Berra
will increasingly become a central Stewardship Council) paper. The customers, our environment and
part of the business. first issue of The Soundtrack is about of course our business.
At present Intellect has no
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to follow suit. FSC paper is acid
free, from sustainable sources and If you have any suggestions or
such, but the company is engaging a highly acclaimed accreditation in further ideas on how Intellect can Send us your letters
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are also making a commitment to and practices, please write to: love to hear from you.
increase environmentally friendly E - MA R K E T I N G: Luke Roberts,
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the following areas, and welcome terial and will rely more on online or email Luke at: 3JG iq@intellectbooks.com
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30 | Thinking in Colour
publishers of original thinking

International Journal of Music,

Journal of Technology and
Community Music Education
3 Numbers/ Vol 1, 2008 3 Numbers/ Vol 1, 2008
ISSN 1754-9221 ISSN 1754-9221

Music Will be available shortly in

Print & Online
Will be available shortly in
Print & Online

journals The International Journal of

Community Music is a refereed
journal that publishes
Journal of Music, Technology
and Education is the only
journal specifically dedicated

research articles, practical to the educational aspects
discussions, timely reviews, of music technology and the
readers’ notes and special technological aspects of music.
issues concerning all aspects JMTE draws its contributions
of community music. Our from a broad community
editorial board is composed of of educators, researchers
New titles from Intellect leading international scholars and practitioners who are
and practitioners spanning working closely with new
diverse disciplines that reflect technologies in the fields of
the scope of community music education and music
music practice and theory. technology education. We
Accordingly, the editorial regard such education in
board of the IJCM holds an its widest sense, with no
open concept of community bias towards any particular
music providing a responsive genre. Readership is wide
scope that is able to reflect and varied, including those
the breadth of current who wish to stay updated with
international practice. the most recent issues and
developments surrounding

the interrelationship between
music technologies and

teaching and learning.

Intellect The Mill, Parnall Road, Fishponds, Bristol BS16 3JG, UK

www.intellectbooks.com/ orders@intellectbooks.com

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