IQ

thinking in colour / spring 2008 In this issue:

DAVID
CRONENBERG
BRITISH
PANTOMIME
THE U.S. VS.
JOHN LENNON
INTERNATIONAL
DIALOGUES
+ book reviews and more

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IQ
contents spring 2008
Publisher/Editor

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
www.intellectbooks.com

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.
www.intellectbooks.com

IQ Spring 2008 | 3
Q&A
iQuote » “Creativity requires the courage to let go of certainties.” – Erich Fromm
intellect People Focus
Sam King
An interview with Intellect’s Marketing Manager
How did you become involved
with Intellect?
I had always wanted to work in an
environment where the circulation
of creative ideas was the central
focus. My degree provided me
with the academic background
to pursue this ambition, and
complemented an attentive interest
in creative industries. Following an
initial meeting at Intellect, I began
a work placement as Publishing
Assistant in 2005. Since then I
have been involved in a range of
roles within the company, from
copy-editing and production
management, to marketing and
publicity. I have recently taken on
the position of Marketing Manager.
What are your general
interests outside of Intellect?
In 2006, I had an idea to unite the
two conflicting worlds of academic
4 | Thinking in Colour
and mainstream culture within
a lively festival programme. The
visual culture magazine, Film
International (published by Intel-
lect) agreed to act as an intellectual
resource for the festival and its in-
ternational dimension. This ambi-
tion has led to the development of
a full and extensive programme of
festival events spanning two weeks
in Bristol, and establishment of
a community interest company,
Compass Film, of which I am Di-
rector and one of the main festival
organizers. Now in its third year,
the company also seeks to widen
its focus to host various other arts
and community related events
throughout the year, culminating
in the international film festival
weekend in the autumn.
Could you describe Intellect’s
recruitment policy?
In its human resources strategy
Intellect aims to be an organization
where people aspire to work for the
quality of life instead of what we
can afford to pay. Recent graduates
are welcomed with an extensive
training programme, and are given
a great deal of responsibility, thus
allowing them to make their own
personal successes and errors
respectively as part of this organic
training. Intellect nurtures each
employee’s working practice
through the provision of varied
professional tasks, certified
practical training courses and
regular appraisals, gradually
strengthening and diversifying
their portfolio. Moreover, this
also involves employees in
understanding and evaluating
their professional development.
Intellect is committed to investing
in new talent and has developed
a graduate ‘incubator’ concept
within its own structure, offering
recent graduates part-time jobs
while they find their feet. The
company also offers both living
and working accommodation
in the building above Intellect’s
offices in Bristol. The aim is to
make self-employment a viable
option for graduates in art, media
and design through the provision
of an engaging living and working
environment.
What is Intellect about?
Intellect is an independent
academic publisher whose focus
is creative media and popular
culture, publishing scholarly books
and journals that exemplify our
mission as publishers of original
thinking: accepting proposals and
commissioning based on the merit
of ideas rather than sales. Intellect
aims to provide a vital space for
widening critical debate in new
and emerging subject areas, and
in this way we differ from other
publishers by campaigning for the
author rather than producing a
book or journal to fill a gap in the
market.
How does Intellect differ from
other academic publishers?
Intellect’s ethos is reflected in its
particular production and editorial
policies – for example, there is
little editorial intervention in
comparison with other publishers.
Intellect adopts a rigorous
copy-editing and proofreading
procedure, however, whilst this
ensures grammatical excellence
and consistency, the copyediting
does not try to mould content into
a house style or interfere with the
authorial voice. Intellect strives to
represent the author authentically
rather than to appease the reader.
We aim to foster close working
relationships between editorial and
marketing personnel and authors
and editors that proves to be
mutually beneficial. We place great
emphasis on providing a service to
our authors and editors, ensuring
that they feel fully involved and
satisfied with the publishing
process. This collaborative
practice is very well received, and
the company continually receives
positive feedback.
What is your Unique Selling
Point?
Intellect has found that there
is a real demand from authors
and editors to get their original
material published. In the
past, the company was not able
to increase book and journal
production to meet this demand
due to prohibitive production
and marketing costs. However,
Intellect has now developed a
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
therefore makes them accessible
to a wide readership. This model
doubles up as a kind of screening
technique, to ensure that the
author feels fully committed to the
book, and invests their energy and
enthusiasm in its success.
How does this differ from so
called ‘vanity publishing’?
Vanity publishing panders
entirely to the author’s conviction
in their work, dismissing the
quality control applied by a
professional publisher to a raw
manuscript, such as careful
copy-editing, sophisticated design
and layout and comprehensive
distribution and marketing
strategies. Vanity publishing also
excludes the essential process
of assessment integral to a
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, ensuring a high calibre of
material, and also to ensure that
the publications are brought to
their full potential.
How does your journal publish-
ing work?
Financial support for the journal
programme is sourced via two
methods: firstly, through our
partners who pay to include and
sell Intellect journals within their
own aggregated collections, and
secondly via an annual investment
put forward by each journal’s
sponsor (either an association/
institution) towards the running
and marketing costs.
A recent ALPSP report indicates
that on average less than 200 new
academic journals are launched
each year worldwide. Intellect
launched seven new journals in
2007, and will be launching nine
for 2008, contributing a 5 per cent
share of the new journal market.
Intellect’s vision is to retain a
market share of around 4 per
cent over the next three years in
initiating new journals.
What role does design play in
your company?
Intellect is a visually imaginative
publisher. We pride ourselves
on devoting attention to quality
design for all publications, and
the umbrella brand aesthetic. Our
in-house designer uses a palette
of visual concepts to capture
readers’ imagination as well as
providing essential information
about the publishing programme.
The visual excellence that Intellect
has achieved has attracted a
number of organizations to use
our publishing services. This has
proved to be a great supplementary
revenue stream, and reflects
Intellect’s commitment to a diverse
publishing profile. The in-house
magazine, IQ, is also a novel way
to promote our community of
authors and editors and our ideas
in a fresh way to a new audience.
It offers interviews, articles,
images, features and trivia – mostly
related to the books and journals
programmes in some way.
How do you market
yourselves?
Intellect has developed keen
market awareness and a firm
understanding of who its target
customers and readers are. We
publish for university/ college
academics and post-graduates. It
has been recognized recently that
some of our book titles do possess
a greater trade potential, and for
these further marketing tactics
are assigned. There is a dedicated
marketing team working within
the company – 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. The
company has identified three key
tiers in its marketing strategy:
brand, subject area and individual
title promotion, and the team
continually strive to find effective
methods of publicizing these
areas. Intellect works hard on
trying innovative new strategies
to market its titles, and focuses
attention on how to benefit from
niche angles in the industry that
other larger, and more trade-
oriented publishers, struggle
to capitalize on. In particular,
significant energy is channelled
into raising visibility via our own
print and electronic marketing
material, direct mail, e-newsletters,
promoting to relevant listserv
communities, gaining publicity
via reviews and endorsements,
promotions and advertising, and
a strong public profile at national
and international conferences.
What is your view of electronic
publishing?
Electronic publishing has also
become an integral part of
Intellect’s strategy. The company
has been publishing e-books
since 1999 through third party
distributors, and these sales have
proved to contribute substantially
to company revenue. Intellect is
not only committed to discovering
new methods of making content
available to potential readers, but
also demonstrates a willingness
to engage with new technologies
and current trends in social
networking & Web 2.0 platforms.
Intellect aims to expand its
current role as a facilitator of
critical debate via formal print and
electronic publications into new
styles of publishing via an open-
architecture online submission and
tracking system. {
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-
dian director David Cronenberg has
adapted the literary works of others,
including Naked Lunch (1991) from
William Burroughs’ 1959 experi-
mental 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 subjec-
tive universe and A History of Violence
(2005), based on John Wagner and
Vincent Locke’s 1997 graphic novel.
Even films not seemingly adaptations
draw on previously-written mate-
rial, for example, Dead Ringers (1988)
derives directly from Jack Geasland
and Bari Woods’ novel Twins (1977).
Cronenberg’s literary awareness is
present in abandoned projects, such
as Mary Shelley’s Frankenstein, Brett
Easton Ellis’ American Psycho and Total
‘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
story ‘We Can Remember It For You Whole-
sale’. It is also apparent his own acting
career, in films such as Nightbreed
(1989), where he shares Clive Barker’s
celebration of monstrosity and in po-
tential future projects, such as Martin
6 | Thinking in Colour
Amis’ London Fields (1989). Looking
closely at such texts reveals fascinat-
ing 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
to illuminate film is not 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
that, as Leonard Bernstein believed,
‘the best way to “know” a thing is in
the context of another discipline’.
However, there remains a stubborn
Leavisite tendency that implicitly
values literary works as superior on
the grounds of being the more estab-
lished art form, that film can only be
visual, whilst literature is linguistic,
and that film cannot emulate fiction’s
ability to convey the profundity of hu-
man thought. Theoretical discussion Below
of adaptation is often bogged down Naked Lunch
Novel by William Burroughs
in repetitive case studies, partly due
Bottom
to what Brian McFarlane terms ‘the Naked Lunch (1991)
fidelity issue’. Notions of remaining By Hillary Mushkin and S. E. Barnet
faithful assume that there is an ir-
reducible core meaning to an original
source text but it is not always obvi-
ous as to precisely what the film-mak-
er should be faithful. More precisely,
as Neil Sinyard reminds us, ‘adapting
a literary text for the screen is es-
sentially an act of literary criticism’,
which should serve to illuminate both
source text and filmic version drawn
from it. By drawing on literary texts
that are by reputation infamous and
experienced primarily on Higher
Education courses, and by choosing
to retain their titles, Cronenberg ap-
pears to seek the endorsement of the
David Cronenberg
iQuote »“A painting in a museum hears more ridiculous opinions than anything else in the world.” – Edmond de Goncourt
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-
num cover and limited to only 1000
copies, is a self-conscious object
d’art and Cronenberg describes
how it is a ‘way for me to create my
film without actors and film crew
this book linked to a website and
to an exhibition’. However, even
here the multi-media ‘Red Cars’
project, including lectures and a
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
source texts. {
FURTHER READING
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
a deeper level, examining Cronenberg’s films and comparing them
to works of literature by innovative authors such as Angela Carter,
Vladimir Nabokov and Bret Easton Ellis.
This book is only the second single-authored study on Cronen-
berg and as well as containing the first detailed analysis of eXistenZ
(1999), Spider (2003) and A History of Violence (2005), it applies
contemporary criticism to the director’s work and explores how
prominent texts can shed light on the often disturbing and puz-
zling world of Cronenberg’s films. It links to the wider context of
adaptation and interpretation studies and seeks to address the
fundamental questions and literary aesthetic behind Cronenberg’s
challenging works.
read
Above and below
A History of Violence (2005)
Directed by David Cronenberg
Bottom
The 1997 graphic novel written by
John Wagner and Vincent Locke
more
For a full list of our books and journals, visit
www.intellectbooks.com
IQ Spring 2008 | 7
 new2009
journals
Journal of
African Cinemas
3 Numbers/ Vol 1, 2009
ISSN 1754-9221
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
seeking papers that expound
on the identity or identities
of Africa and its peoples
represented in film.
For further information
about this journal and Call for
Papers details contact:
Keyan G. Tomaselli
tomasell@ukzn.ac.za
or Martin Mhando
M.Mhando@murdoch.edu.au
Intellect The Mill, Parnall Road, Fishponds, Bristol BS16 3JG, UK
www.intellectbooks.com/ orders@intellectbooks.com
www.intellectbooks.com
Studies in South
Asian Film & Media
3 Numbers/ Vol 1, 2009
ISSN 1756-4921
Will be available shortly in
Print & Online
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 in their social,
political, economic, historical,
and increasingly globalized
and diasporic contexts. The
journal will evaluate these
topics in relation to class,
caste, gender, race, sexuality,
and ideology.
For further information
about this journal and Call for
Papers details contact:
Jyotsna Kapur, Alka Kurian
or Aarti Wani
aaj.safm@gmail.com
Journal of Japanese
& Korean Cinema
3 Numbers/ Vol 1, 2009
ISSN 1756-4905
Will be available shortly in
Print & Online
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
between them. This new
journal seeks essays for its
inaugural issue devoted to
Japanese-Korean cinematic
connections.
For further information
about this journal and Call for
Papers details contact:
David Desser or
Frances Gateward
jjkc@live.com
intellect
publishers of original thinking
intellect
publishers of original thinking

art&design
Books2008
Reading
Bande
Dessinée
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

readmore
learnmore!
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
Performance
By Millie Taylor
As Peter Nichols says in his
introduction to Poppy (1991) ‘the
Christmas pantomime is the only
live entertainment most Brit-
ish people ever see. As children
they’re taken; later they take their
own.’ While this statement may
be debatable given the popular-
ity of other entertainments such
as music festivals and large scale
‘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
have a wider audience demo-
graphic and wider geographical
spread than most other British
theatre entertainments. Given this
popularity it is perplexing that
there has been a lack of analysis
or theorizing of the form, though
there have been several histories.
One of the reasons claimed
Top for this is the elitism of aca-
Ugly Sisters in the hairdressing
demia, which is difficult to accept
scene of Cinderella
Above given the wealth of writing on
Daisy the Cow in other forms of popular theatre.
Jack and the Beanstalk
However, the nature of panto-
mime: its development through
a largely oral tradition with many
scripts unpublished and only
10 | Thinking in Colour
bearing a limited resemblance to
the performance; the inclusion of
visual comedy routines into many
professional productions drawing
on the experience and physical
skills of the comics employed;
and the importance of interaction
to the entertainment and to fulfil
the expectations of its audiences,
appears to offer a rather imprecise
and fluid object of study.
But equally, there is a unique
opportunity here, that allows the
researcher to analyse not only the
traces, but to experience the event,
talk to practitioners and creators
and explore the sense of continu-
ity with the past at the same time
as documenting evolution in
response to politics, social change
and technological developments.
Pantomime producers adver-
tise their product as ‘traditional’,
but there is no historical time at
which the form was fixed or at
which the ‘traditional’ product
being advertised would have
been current. What it points to
Pantomime
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
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
the contemporary experience of
the time and place of its perfor-
mance. 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
local or national politics. Reflexive
references continually remind the
audience of the present and there
is an absence of theatrical illusion
so that the utopian story of happy
ever after consciously entwines
with an awareness of the distance
between that story and the lived
reality of the audience. There is a
third layer of performance, which
is the artistry of singers and danc-
ers who reveal an admirable level
of technical virtuosity, even as it is
undermined by the comics.
So pantomime can be theo-
rized as having a connection to an
idealized past and a utopian future
even while maintaining awareness
of the political and social reality
outside the theatre and of the the-
atrical illusion of the event. {
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 pan-
tomime creates a unique interactive
relationship with, and potentially
transformative experience for, its
audiences. Pantomime draws audi-
ences into a story, an engagement
with the hero and an empathetic at-
tachment to the success of the quest.
The comedians draw the audience
into a relationship of complicity
as they unite to create the unique
experience of the live interactive
performance. At other times the
artifice of dance, the illusion of
transformation and the surreal
playfulness of physical and verbal
comedy divert the audience. This
definitive book explores the trick of
pantomime: to maintain an effective
balance between the intellectual
appreciation of artifice, the chaotic
complicity of interactivity, and the
emotional engagement of story-tell-
ing. British Pantomime Performance
is an accessible and valuable text
that encourages readers to review
their assumptions about pantomime
and reconsider its importance as a
popular theatre form.
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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-
chapters in this book explore tem in developing nations. This
section also includes an account
pioneering interdisciplinary of a small-scale ecological col-
applications of art education and laboration between a univer-
sity art teacher and the Save the
innovative technologies.’ Redwood League in California.
In the last environmental and
community-based project, trav-
elling artists and educators set
Left
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
with British-born Muslim girls.
There are paintings of the Iraqi
war by children in Sweden and a
method of diagnosing post-trau-
matic stress through children’s
drawings developed in Cyprus.
As this brief summary
shows, a significant number of
chapters in this book explore
pioneering interdisciplinary
applications of art education
and innovative technologies.
We believe that it contains new
visions and ideas and that it will
find readership amongst those
interested in cross-cultural and
multicultural issues in art educa-
tion, and appeal to an interna-
tional audience. The references
to social injustices and conflict
link to a larger socio-political
picture and will attract a wider
audience than simply art educa-
tors. International Dialogues also
benefits from examples of best
practice and lavish illustrations.
www.intellectbooks.com {
FURTHER READING
International Dialogues
about Visual Culture,
Education and Art
Edited by Teresa Eça
and Rachel Mason
£19.95, $40
ISBN 9781841501673
The 2006 InSEA conference’s aim
was to facilitate debate in higher
art education on an international
basis. With global contributions,
International Dialogues about
Visual Culture, Education and
Art reflects this aim, discussing
themes in higher art education in
order to help solve global issues
surrounding the subject. This
diverse collection focuses on global
themes in art education, ranging
from discussions of educational
policy and art theory to art projects
based on international political
issues. This political aspect of art
education illustrated through com-
munity projects offers the volume
to a wide audience, from art educa-
tors to scholars to those interested
in the relationship between politics
and art. International Dialogues
about Visual Culture, Education
and Art engages with new, often
unheard voices, offering a repre-
sentative discussion of global art
education issues.
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-
nal of War and Culture Studies?
Debra: The journal builds on the
work of our research group, the
Group for War and Culture Studies,
whose emphasis is broadly on the
complex relationships between
war and culture, and specifically
on culture in the sense of ‘cultural
artefacts’ rather than the some-
times ill-defined ‘cultural studies’.
I’m immensely proud to know that
this work is seen by scholars in the
field as revolutionizing the study of
the cultural history of war, through
an approach based on representa-
tion, memory and identity. I think
the fact that the group grew out of a
The Editors of Intellect’s recently Department of Modern Languages,
launched Journal of War and Culture in fact French, and therefore liter-
ary, linguistic and cultural studies
Studies share their thoughts on their rather than history, is key to under-
standing its uniqueness.
interest in the effects of war, and Are you in ‘French’ or ‘War’
working together as a team. Studies, then?
Martin: I have a foot in each camp,
if you’ll excuse the military pun. I
think that my interest in war and
culture studies dates back further
than my interest in French culture
though. When I was a child, I’d
pester my grandfather, who served
with the RAF from its early years to
the 1950s, for war stories. I could
never get him to tell me anything
about the war, he’d always skirt
around it. When he died, he left
Above Professor Debra Kelly and Helena Scott, editorial coordinator
me his photograph albums from
‘The Journal is providing another academic forum in which these encounters can take place.’ the 1930s and 1940s. These images
14 | Thinking in Colour
and a model Spitfire a German
POW had made for him were all he
communicated to me about his war
experiences. Along with an adoles-
cent interest in British literature of
the First World War, they led me to
consider cultural representations
of war as perhaps the only means
available to me to understand
what my grandfather’s generation
had experienced. My decision to
specialize in French, however, was
unrelated – I chose to study French
at university mainly out of a love of
travel. I’ve been lucky in that, both
as an undergraduate and since,
I’ve been able to marry these two
interests. GWACS and the journal
have been crucial in this.
Debra: It’s interesting that Martin
dates his interest in war and culture
to the experiences of his family.
I’d say the same, I was transfixed
by my mother’s stories of growing
up in the Second World War she
was a teenager living in the heav-
ily bombed industrial heartland
of Britain. My father was in the
merchant navy, accompanying the
American fleet – but he also is still
reticent when talking about his
experiences. The other formative
influence was the groundbreaking
1970s television series The World at
War, which I watched avidly with
my mother when I was a teenager.
I’m just delighted that Jerry Kuehl,
the Associate Producer of that
series, is a member of GWACS ¥
 hello
there
*
swotter,
brain,
egghead,
nerd,
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
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 environ-
ment of the GWACS and now
the Journal is a supportive one?
Nikki: I was two years into my
Ph.D. but had also recently taken
up my first full-time post as Lec-
turer in European Studies at Sussex
University when a rather perplex-
ing 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
in 1939, and I hadn’t even begun to
delve into the murky 1945-54 years.
I needn’t have panicked however
as the conference provided an
extremely supportive environment
in which to venture into new areas
of research. That first foray into
war and culture studies meant that
I met a great number of people
who’ve proved immensely inspi-
rational, encouraging and helpful
to my subsequent endeavours. I’ve
loved working with GWACS and
now the journal, and they’ve both
greatly enriched the focus and
range of my work.
Martin: I also gave my first confer-
ence paper at a GWACS annual
conference - this was the second
one on memory and the experience
of war. There I met people whose
work I’d only been reading up until
16 | Thinking in Colour
that point. The high point for me
was when Douglas Johnson, the
renowned historian who died in
2005, asked me a question follow-
ing 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-fe-
male 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’.
The GWACS and the journal now
extend primarily across Europe, but
also to other geographical areas
involved in conflicts from the twen-
tieth century onwards. Listening
to Nikki and Martin, I’d add that
I’m also incredibly proud that one
of the most important aspects of
our work has been, and continues
to be, that very fostering of new
research in war and culture studies,
and of cultivating and encourag-
ing young researchers – we have a
reputation for being a good place
for doctoral students to try out
their work. The journal is providing
another academic forum in which
these encounters can take place.
Can you tell us about working
on the first issue.
Nikki: Getting the first issue to-
gether was a huge challenge, since
Dr Martin Hurcombe and Professor Nicola Cooper :
‘Getting the first issue together was a huge challenge.’
‘One of the maddest
moments was
when Martin and I
huddled over poorly
printed Google maps
with mobile phones
in hand, trying to
locate Debra’s far-
flung abode for a
final chew over our
assembled articles.’
we work in three different univer-
sities and three different cities.
One of the maddest moments was
when Martin and I huddled over
poorly printed Google maps with
mobile phones in hand, trying to
locate Debra’s far-flung abode for
a final chew over our assembled
articles. We’d pulled out all the
stops and called in all our favours
(thanks Editorial Board!) to get the
first issue together in record time.
This was in response to Intellect’s
proposal that we present the jour-
nal at a big conference on Memory
and Conflict held at Swansea Uni-
versity in September, before a
London launch later last year. By
that point we weren’t about to be
distracted from our task by the fact
that we’d managed to direct our-
selves into a labyrinthine industrial
estate just off the M4 rather than
our Chief Editor’s genteel pad on
the Surrey border. I was moving
house and job just as we were go-
ing to press, and I remember Ravi
(our Journal manager) calling me
to say he finally had the first issue
in his hands. It had been touch
and go whether the printers would
manage to do the job in time, plus
they had also had to deal with
the fact that they were printing
the first ever Intellect publication
on FSC paper 1 which is for them
(and us) a landmark event. We’re
hoping that the Journal of War and
Culture Studies can continue to build
on its very innovative start. {
1
FSC = Forest Stewardship Council.
For further explanation see Luke Roberts’
article ‘The Future’s Bright and Most
Definitely Green’ on page 30.
intellect
publishers of original thinking

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Books
Declarations of
Independence:
New
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Film
American Cinema
and the Partiality
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The Soundtrack
Production Editors: Stephen Deutsch,
By John Berra Larry Sider and Dominic Power
£19.95 / ISBN 9781841501857 ISSN: 1751-4193

2008
224pp / March 2008 2008 / 3 issues per year

Truth or Dare: Studies in

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

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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,
which began its theatrical life
in Wales in 2004, transferred
to Dublin’s theatre festival
(earning a four-star accolade
in The Irish Times), and then
returned to Cardiff for
production in The Wales
Millennium Centre in 2005.
In the first text, The Contracting
Above
Sea, a woman stands on a coast-
Antoinette Walsh as Elisheba in line and struggles to come to
The Contracting Sea terms with the sudden absence
Right of her shipwrecked lover. As
Antoinette Walsh as Morgana in
The Contracting Sea she explores her own affliction,
anger and isolation, a new voice
tears out of her: that of a fiercely
wilful embodiment of catastro-
phe, part seductress, part sea-
witch, who discovers defiance
in the surprising resurgences
of sexuality and erotic initia-
tive which break through grief.
In the second text, The Hang-
ing Judge, a boy works out his
rage against an abuser whose
suicide has denied him closure.
This play is not directly autobio-
graphical, though was informed
by my experience of being inter-
viewed as a witness by the police
by a conversation with a friend.
After these I was shaken by a
pitch-black nightmare dominat-
ed by the chant of an old novelty
soul record (‘I Am The Judge’)
and by a dramatic proposition
that both terrified me and dared
me to write it: an appalling ritual
of confrontation, invocation,
possession and casting out,
which turned things associated
with legal and religious ritual
into a voodoo black mass.
The police investigation and
the conversation both related to
the case of a respected drama
teacher and television drama-
tist who sexually abused his
pupils for more than a de-
cade. Facing prosecution on
five charges, he committed
suicide on the day before he
was due to stand trial.
In The Hanging Judge, the
protagonist discovers and
confronts within himself the
internalized voice of his former
teacher and sexual oppres-
sor. Indeed, beyond the play’s
scenario of abused trust, I think
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-
tive authority, which mocks our
achievements, dismisses our
worth and is witheringly reduc-
tive of all our possibilities.
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 disgrac-
ing of my profession and my
artistic medium through one
man’s exercise of power without
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
theatrical riposte to his conduct.
Attending the premiere of ‘I think there may be a Hanging Judge
Lovefuries, the major dramatist in us all – an internalized voice, ...in
David Rudkin observed how
both texts insisted the per- the tone of a formative authority,
formers become ‘dangerously
erotic presences in the space’;
which mocks our achievements, dis-
‘The first is almost a song for misses our worth and is witheringly
a woman cursing the loss of
her lover to the sea’s elemental
reductive of all our possibilities.’
bargaining. Terse prose con-
geals to a harsh uningratiating
poetry that can ambush us with
sudden fierce epiphanies. The
second would offer an ideal
project for a young actor seek-
ing to transmute his personal
anger into an objective illuminat-
ing force. The language here is
brutalized, sometimes regressed
– to an effect almost Mahlerian,
for the rage is murderous’. {

FURTHER READING
Lovefuries
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
switch-off of conventional analogue
television in the UK - in the small
town of Whitehaven in Cumbria.
This marked the start of a region-
by-region process which will extend
until the end of 2012. At that point
the UK will have converted fully to
digital television, based on terres-
trial, 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, it has the highest digital take-
up in the world.
However, the Netherlands
switched off its analogue terres-
trial TV at the end of 2006. Finland
and Sweden followed in 2007. The
United States has committed to
2009. Germany and Switzerland are
expected to complete their regional-
ly phased switch-offs by 2010. Japan
is targeting 2011. France, among
others, aims to have completed by
then too.
So why does the UK have such a
protracted timetable to the switch-
off, spanning fifteen years, when
others can start later and finish
earlier?
The early start was a conse-
quence of the failure of the BBC
and ITV to establish themselves
on analogue satellite, when in
the 1980s BSkyB left them on the
20 | Thinking in Colour
ground. They jumped at the op- Below timetable for completing switchover throughout the UK (Vismedia)
portunity digital terrestrial technol-
ogy gave them to enter the field of
multi-channel TV. The government
welcomed the possibility of reclaim-
ing spectrum through switchover.
However, a hasty launch, with im-
mature technology, was one of the
factors behind ITV Digital’s collapse
in 2002 and analogue switch-off
only became feasible in the UK after
the subsequent success of Freeview.
The relatively late date for com-
pletion 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
unimportant means of reception
– which, of course, makes the
political challenge of switching it
off much less daunting.
2/ Because switchover was such
a distant prospect when digital
terrestrial was first planned, a new
frequency plan had to be devel-
oped for switchover - so the opera-
tional practicalities are complex.
3/ Having cautiously positioned ‘a hasty launch, with immature
itself as facilitating, rather than
leading, a broadcasting technology
technology, was one of the factors
change, the government consulted behind ITV Digital’s collapse in
the terrestrial broadcasters on the
timetable: since the commercial 2002 and analogue switch-off only
broadcasters stood to lose market became feasible in the UK after the
share, they were in no hurry.
4/ UK policy is based on replicating
subsequent success of Freeview.’
analogue terrestrial’s 98.5 per cent
coverage with digital terrestrial,
Media & Culture
iQuote » “Culture is to know the best that has been said and thought in the world” – Matthew Arnold
‘The UK’s protracted switch over
timetable does give reluctant consumers
plenty of time to get used to the idea...’
requiring over 1000 small trans-
mitters for the last 4 or 5 per cent:
in Germany, for example, digital
satellite is deemed a satisfactory
substitute in remote areas.
The UK’s protracted switcho-
ver timetable does give reluctant
consumers plenty of time to get
used to the idea, but it will slow
down the transition to high-defini-
online
tion terrestrial TV. The UK has
enjoyed advantages from starting
early and achieving high take-up
but, with such a long transition
period, staying at the forefront of
digital terrestrial technology is not
one of them. {
Michael Starks is an associate
of the Programme in Comparative
Media Law and Policy at Oxford.
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
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-
ing off analogue and unwraps the issue that politicians and industry
regulators are responsible for altering the lives of consumers, unset-
tling a generation who have grown up with analogue as the norm, and
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
progress and the ways in which the decision to make digital compul-
sory affects nearly every household in the UK. This cutting edge book
introduces the reader to these ideas and explores every angle of the
dilemma. In addition to the UK experience, Starks brings in compara-
tive studies with the United States, Japan and the leading media forces
of Western Europe to support his thought-provoking hypothesis.
Be sure to visit
the Intellect
website for a
comprehensive
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
documentary film?
John Scheinfeld: I have done docs
for about thirteen years, many
of them for television, but this is
our first feature film documentary
that’s been distributed nationally
and internationally, so we’re very
excited about that. We feel that
the issues dealt with in this film
are issues that many different
countries face: freedom of speech,
essence he’s the narrator, because
who better than him telling us his
story? The challenge of this kind
of film is how to piece together
a coherent narrative without
anybody tying things together. It
was very difficult, but we made
it work, because we have such
extraordinary voices in this docu-
mentary: smart people, thought-
ful people, eloquent people who
said the things we wanted to say,

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

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

22 | Thinking in Colour
Film Studies
iQuote » “A film is a petrified fountain of thought.” – Jean Cocteau
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
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 re-
searched 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
just sort of felt they wouldn’t have
been able to offer very much. If we
were doing a John Lennon biogra-
phy, we would have gotten those
people, but this is a different story
–this is a political film, and I don’t
think pop stars had much to say
about a political film.
P.J: What I got from your film
was that Americans expe-
rienced horrible situations
during the 60s and 70s – with
the Vietnam War and such
– but didn’t learn a lesson from
history, choosing to repeat the
same mistakes. Do you believe
that they have no historical
consciousness?
J.S: That’s a very good question!
I think that is true with many
governments, not just America. I
Below The US vs. John Lennon
‘For this film we decided that we only
wanted people who were there, people
who were in Lennon’s world at the time
and people who were key figures on
the American stage, meaning political
figures; social and cultural figures.’
think that many leaders make the
same mistakes that their prede-
cessors made. Because somehow
they feel: ‘I’m more important,
I’m different, I won’t make the
same mistakes’. There is a famous
quote from the philosopher
George Santayana: ‘Those who
do not learn from the lessons of
history are condemned to repeat
them. We see that in America now,
we see it in Britain now, we proba-
bly see it in your country Iran now.
That the leaders have not learned
from the past. It’s a tragedy really,
and the people suffer...as a result
of what they do.
P.J: It is a tragedy and your
film shows us the outcome of
this tragedy and the American
meant was that it’s silly but they
do it anyway. The government are
afraid of people like this, it is silly
but they are. He made a point that
we couldn’t find a place for in the
film but is included in the DVD
bonus material, where he says that
the government confuse dissent
with disloyalty, that if you say
something against the government
you’re being disloyal. We live in a
society where we’re supposed to
have freedom of speech, we’re sup-
posed to be allowed to express our
views on all the issues and it’s really
important to do that.
P.J: So does the government
think of you as an anti-estab-
lishment figure?
J.S: I’m hardly important.
P.J: I mean after making this
kind of film.
J.S: I don’t think they pay that
much attention to this, I mean
this is no great threat to them even
if you look at the Dixie Chicks’
government’s policies are. film which was shown here on
J.S: And we use Lennon as a way Wednesday night. They got into
to tell the story, but it is really some trouble over what they said
about those bigger issues as well. about George Bush, but I think
that was more an annoyance than
P.J: Tarik Ali says in your film anything else. What we tried to
that the threat from intel- show was that the environment
lectuals and artists towards of the 60s and 70s created such
America is a paranoia in the Nixon
joke. But you administration and the
try to show American government
us that John it had caused them to
Lennon is a behave in a way that
real threat and was wrong. That type of
a dangerous fig- paranoia may not be the
ure, as you say same thing we encounter
‘an anti-estab- everywhere today but
lishment figure it could be, and it can
of American be and I think it’s the
history’. cautionary tale of
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
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?
‘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.
Whenever we go to a foreign coun-
try we hire what’s called a ‘fixer’,
a local person who speaks the
language, takes care of things that
we need done to make the movie,
gets us a permit or gets us to a place
or introduces us to a person. And
at the end of working for me for
a week, he says, ‘you know John,
you don’t seem like an American,’
I said ‘Really? Why?’ He says: ‘You
are not fat, you are not loud, you
listen to people, are interested in
what people have to say and you’re
interested in other cultures’. And I
thought what was interesting about
that was that they thought this is
what Americans are like. They don’t
book reviews page 28 »
24 | Thinking in Colour
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 re-
spect 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 administra-
tion 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
film Fahrenheit 9/11. What do
you think is the future for po-
litical feature documentaries?
J.S: I hope the future for political
documentaries is great! People
seem to want to watch them,
people seem to make time to see
them, they don’t make as much
money as Mission Impossible 3, but
there is an audience for them and I
think that’s great, because it allows
us to tell different kinds of stories.
It used to be that documentaries
were some nature thing, you know,
the mating habits of a teensy fly or
something, but now you can tell
political and social stories, you tell
cultural stories, and I think that’s
a wonderful thing for film-makers
like me who want to tell stories. {
intellect Journal Focus
Birgit Beumers
An interview with the Editor of Studies in
Russian & Soviet Cinema journal
How did you come to Intellect
with SRSC?
Intellect started a range of rather
innovative new journal titles a
couple of years back, and I had
subscribed to New Cinemas which
had included a few pieces on
Russian cinema early on after its
launch. At the same time, I had
been running a website devoted to
new Russian cinema, and turned
it into an online journal in 2003.
This was at a time when Russian
cinema was just in the process of
emerging from the ashes after an
all time production low of 28 films
in 1996 and a complete collapse of
distribution and production (just
think that Russia is now the fifth
strongest market in the world!).
Gradually the site developed into a
journal, which appears four times
a year but is devoted exclusively
to contemporary cinema. In the
meantime cinema studies became
a stronger subject at universities in
general, but also within Russian
studies. Together with digitization
of newly mastered old Soviet films,
there was scope for expansion of
courses, as well as for publications.
I was looking for a print outlet to
complement the existing online
publication on contemporary films
with a print journal on film history.
When I was giving some guest
lectures on an MA course at Exeter,
Susan Hayward (who is the editor
of Studies in French Cinema) suggest-
ed I should get in touch with Intel-
lect. So I met with Robin Beecroft,
who was the Journals Manager, and
with Intellect’s Director Masoud
Yazdani, who were very enthusi-
astic about the launch of such a
journal, run by some of the people
involved in KinoKultura but joined
by a range of film historians on the
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
(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
of animation in Ekaterinburg,
or the production in Khanty-
Mansiisk by Iurgas, which last year
co-produced a film entitled Franz
+ Polina about the Second World
War, and recently brought out a
film by the Hungarian film maker
Tomasz Tot.
How do you assess submissions
and deal with contributors?
We encourage in particular young
authors, as well as established
scholars. In the first issue we had
texts by two high-profile scholars
from UK and US next to an article
by a UK postgraduate, who has
since defended his thesis and
is about to turn it into a book.
Authors don’t have to know
Russian, but they should be able
to engage with all relevant sources
for their research topic. We look
for lucid arguments, competent
libraries subscribing now that
the first volume is complete
Proposing a
work with sources, and new
readings and interpretations. All
with three issues. University
libraries both in the UK and the
new journal
articles are double peer-reviewed, US are experiencing a financial
and usually we report back to crisis with regard to new journal “There is nothing more
authors within six weeks. We also subscriptions and have established powerful than an idea
publish translations of film scripts a policy of subscribing to new whose time has come.”
and documents, in order to make journals only after they have –Victor Hugo
such sources available to non- demonstrated an ability to publish Intellect is seeking editors
Russian speaking film scholars. issues regularly. As we begin to start new journals. We
And in each volume we provide work on the second volume of the commission journals that
reviews of the major monographs journal, the number of university strengthen our existing port-
folio in the arts and humani-
(written in either English or libraries subscribing to the journal
ties. We look for editors with
Russian) that have been published will begin to increase. exceptional leadership quali-
ties. The most successful edi-
tors are those who encourage
‘The territory of the former USSR included and inspire their community
to submit articles, conduct
Central Asia, the Baltic States and other, peer review and help in the
now independent republics that are in the day-to-day development of
the journal. Committed, pas-
process of rewriting their film history and sionate editors who dedicate
time and thought produce
developing their own industry.’ the best journals.
We offer editors a full
training in journal publishing.
on Russian and Soviet cinema What are the plans for the journal? This includes guidelines for
during the current year. We aim to have a competition for the set-up, launch and
best postgraduate or student essay maintenance of the publica-
What is the journal’s readership? during 2008 to be published in the tion. In addition to a journal’s
networking possibilities, we
As with all new journals, this is first issue in 2009 to encourage emphasise the need for
still in the process of formation. In young scholars. We are also cur- teamwork between Intellect
addition to individual readers, who rently discussing the possibility of and our editors. Publishing a
began to subscribe with the first including a short film with a script journal is an act of collabora-
tion, negotiation and discus-
issue of the journal, we anticipate publication in one of the forthcom-
sion. We encourage editors
a significant number of university ing volumes. { to take an interest in the
entire process, including
production, marketing, sales
FURTHER READING and distribution.
Studies in Russian & Soviet Cinema Launching successful journals
is an exciting challenge. The
Edited by Birgit Beumers
long-term sustainability of
Subscription: Three Issues your ideas must be planned
£30 Personal / £210 Institutional carefully in order to make an
ISSN 1750-3132 exceptional contribution to
academia.
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/
gy and industry. SRSC invites contributions that constitute original research. publishwithus.php
The journal seeks to promote research from established scholars as well as to to download a Journal Editor
questionnaire.
encourage researchers new to the field.
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
market, crafts, design, designer
Simon Roodhouse gauges the fashion, film, interactive leisure
xiii) and, Creative Industries: Contracts
between Arts and Commerce, (Caves,
2000) with our engagement with
copyright, patent, trademark and
contracts mechanisms.

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

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

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

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

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

Our objective is always to support

intellect publishers of original thinking
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
be happy to hear from you.
Book Reviews
iQuote » “Writing is the best way to talk without being interrupted.” – Jules Renard
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
recent inclusion of The House of
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
groundbreaking collection of
essays Videogames and Art, which
seeks to explore the complex and
fascinating relationship between
the two mediums.
Although the book is quite
informative, those coming to it
from a gamer’s perspective are
sure to be a little disappointed
when at first the book’s editors
spend a mere few paragraphs
dismissing videogames as too
commercial to be considered
art. Fortunately this view seems
to be taken to task within many
of the individual, far-ranging
essays penned by critics, artists
and those on the fringes of the
industry (what we might call
an independent games scene).
The book is divided into three
sections: the first charting the
28 | Thinking in Colour
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?
‘Just as writers like Andre Bazin were indispensable
in elevating film as an art, similar voices are needed
for gaming to be taken seriously. Some of those
voices can already be faintly heard in this book.’
Of these three sections
the first is often frustratingly
single-minded in its focus on the
established art world and more
often than not treats videogames
with sweeping generalizations
and haughty condescension.
There is perhaps also an over-
emphasis 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
the plight of the immigrant in
Australia within the context of
an adventure RPG, exploring the
key functions of empathy and
identification within gaming and
how these can be deployed to
politicized ends by artists. The last
Below left Golem/Loew © Suzanne Treister
Below Time Travelling with Rosalind Brodsky
chapter, happily, moves beyond
Pacman and Doom, treating gaming
on its own terms with a little more
depth and respect. It includes
a fascinating essay on Japanese
aesthetics, in which gaming is
rooted, including the function
of ‘Mono no Aware’ (‘pathos’)
in Final Fantasy and likening the
isometric camera angle in the Sims
to Heian period paintings and the
domestic focus to the cinema of
Yasujiro Ozu.
There aren’t that many books
on the subject of gaming and
art, which makes this one an
important milestone in itself, and
it certainly contains a lot of food
for thought. The final chapter is
a kind of call to arms, insisting
that the game industry needs,
amongst other things, critics not
just reviewers. Just as writers like
Andre Bazin were indispensable
in elevating film as an art, similar
voices are needed for gaming
to be taken seriously. Some of
those voices can already be faintly
heard in this book. Let’s hope
we see a follow-up in the form of
‘Videogames as Art’. {
Book Reviews
iQuote » “ Better to write for yourself and have no public, than to write for the public and have no self.” – Cyril Connolly
ART & DESIGN
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,
important for young people to
know about and understand the
incredibly diverse nature of visual
culture,’ writes Hickman, ‘but
not at the expense of depriving
them of opportunities for creative
self-expression.’ He identifies
encounters with taught art history,
those which come too early and
which appear to be comprehensive
download our new
Books catalogue from:
www.intellectbooks.com
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 pseudo-
objective 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
depict what they see around them.
To bombard students with context
and interpretative approaches
whilst at the same time depriving
them of a useful tool for self-
expression is the worst of both
worlds. Furthermore, Hickman
asks why ‘assessment of items that
look like art objects’ should be
seen as evidence of learning.
Below Desk with Lamp by Stephen Duncalf Bottom Rust by John Laven
An important section of this great work at a young age, what
book is a collection of personal about Egon Schiele who produced
testimonies on art-making. The remarkable and original work
interviewees range from children, before the age of 20 and was dead
teachers and amateur artists to before the age of 29? Here a little
professional artists. There is a art historical context and a pinch
case for publication of a larger of salt might have gone a long way.
collection of such responses with Another blind spot seems to
brief analyses from the author be higher education. Apart from
which might serve as a sourcebook a brief discussion, art colleges are
for those involved in art education. not touched on in a significant
The otherwise perspicacious way, though the author’s long
‘There is plenty of sympathy here for teachers caught
between imperatives of measuring almost intangible
qualities to pseudo-objective standards and the
desire to foster joyful creativity in children.’
Hickman swallows whole the experience of observing younger
statement: ‘It takes about a decade learners (and their teachers)
for people to master a domain shines through in his considered
and up to an additional decade and humane approach to this
for them to fashion work that important subject. This study
is creative enough to alter that is a valuable counter balance to
domain’. While it is true that target-centred art and education
child prodigies don’t produce administrators. {
Film Studies
Theatre & Music
Media & Culture
Art & Design
Read More...
Learn More
IQ Spring 2008 | 29
Backpage
iQuote » “There is more pleasure to building castles in the air than on the ground.” – Edward Gibbon
intellect comment
The future’s bright, and
it’s most definitely green
Intellect’s environmental policy
Increasing numbers of
businesses and individuals are
facing up to their environmental
impact. In 2007, the words
‘carbon footprint’ have become
part of everyday language. In the
publishing industry, which still
relies heavily on paper and ink,
consideration for the environment
will increasingly become a central
part of the business.
At present Intellect has no
environmental or green policy as
such, but the company is engaging
in more sustainable practices. We
are also making a commitment to
increase environmentally friendly
activities across the whole com-
pany. We are currently working in
the following areas, and welcome
your suggestions for improving
30 | Thinking in Colour
our environmental practices.
PRINTING:
Intellect now uses white 100 per
cent recycled paper for most
internal printing jobs. At the time
of writing, the first issue of the
Journal of War & Culture Studies has
been published on FSC (Forest
Stewardship Council) paper. The
first issue of The Soundtrack is about
to follow suit. FSC paper is acid
free, from sustainable sources and
a highly acclaimed accreditation in
the publishing industry today.
E - MA R K E T I N G:
We are dramatically reducing the
amount of printed marketing ma-
terial and will rely more on online
and digital marketing techniques
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.
We aim by 2010 to print 100
per cent of our journals on FSC
paper. All Intellect books are
already being printed on FSC
paper. We integrate questions
of environmental sustainability
as part of our print buying
negotiations. We have discovered
that, in making a gradual shift
towards greener practices, the
up-front cost of doing so can be
negligible. Moreover, we hope
that the long term benefits of
taking responsibility for the
environmental impact of our
production and marketing needs
will be greatly beneficial to our
customers, our environment and
of course our business.
If you have any suggestions or
further ideas on how Intellect can
improve its environmental policy
and practices, please write to:
Luke Roberts,
Intellect, The Mill, Parnall Road
Fishponds, Bristol BS16 3JG
or email Luke at:
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Testimonials...
‘As an editor, what I like best
about Intellect is the combination
of genuine concern, constructive
advice, and unequivocal respect for
the editors’ ultimate choices. The
people at Intellect are pros at what
they do, which allows us as editors
to focus on our job – finding the
best texts.’
– Daniel Lindvall,
Editor of Film International
‘I am very pleased to find out that
there is a publisher of ‘original
thinking’. It gives the feeling that
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International
Journal of
Community Music
3 Numbers/ Vol 1, 2008
ISSN 1754-9221
Music Will be available shortly in
Print & Online
journals The International Journal of
Community Music is a refereed
journal that publishes
2008
research articles, practical
discussions, timely reviews,
readers’ notes and special
issues concerning all aspects
of community music. Our
editorial board is composed of
New titles from Intellect leading international scholars
and practitioners spanning
diverse disciplines that reflect
the scope of community
music practice and theory.
Accordingly, the editorial
board of the IJCM holds an
open concept of community
music providing a responsive
scope that is able to reflect
the breadth of current
international practice.
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Intellect The Mill, Parnall Road, Fishponds, Bristol BS16 3JG, UK
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Journal of Music,
Technology and
Education
3 Numbers/ Vol 1, 2008
ISSN 1754-9221
Will be available shortly in
Print & Online
Journal of Music, Technology
and Education is the only
journal specifically dedicated
to the educational aspects
of music technology and the
technological aspects of music.
JMTE draws its contributions
from a broad community
of educators, researchers
and practitioners who are
working closely with new
technologies in the fields of
music education and music
technology education. We
regard such education in
its widest sense, with no
bias towards any particular
genre. Readership is wide
and varied, including those
who wish to stay updated with
the most recent issues and
developments surrounding
the interrelationship between
music technologies and
teaching and learning.

intellect Publishers of original thinking
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