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15 Holopoetry Explained
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By Eduardo Kac Intellect publishes books

and journals by authors and
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intention is to produce books
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Liza Palmer answers our questions create impact and are affordable
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Subscribe to Intellect’s in-house magazine, IQ, for free. 26 Intellect in North America for the ideas: we support our
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Q&A » 04 May Yao | 27 University of Chicago Press | Reviews » 21-25 Book Reviews |
www.intellectbooks.com IQ 2009 | 3
Q&A May Yao
iQuote » “Joy in looking and comprehending is nature’s most beautiful gift.” - Albert Einstein iQuote » “Be great in act, as you have been in thought.”– William Shakespeare

intellect People Focus

Intellect aims to provide a vital space so many new journals when

other publishers are shying
constructive relationship with each
editor.
for widening critical debate in new and away from new launches?
One of Intellect’s strengths is Who are your partners and
emerging subject areas and campaigns for being able to start up new journals what do they do for you?
the author rather than producing a book or swiftly and successfully. Our focus Our aim is always to support our
on particular subject areas makes authors by bringing their ideas to
journal to fill a gap in the market. it possible for us to easily tap into as wide a readership as possible,
our existing contacts within those and we continuously strive to
academic communities. However, find new and innovative ways of
more trade-oriented publishers, to contribute substantially to the real key to the success of achieving this. Since 2007, our
struggle to capitalize on. In company revenue. Although our journals is the work of our titles have been marketed and
particular, significant energy is we can’t imagine ever ending dedicated editors. A good editor is distributed by the University
channelled into raising visibility our paper-based publishing also a good leader, who not only of Chicago Press in North
via our own print and electronic programme, in academic has academic vision but also the America. We also have a similar
marketing material, direct mail, publishing e-books are an skills, abilities and attributes to arrangement with the University of
e-newsletters, gaining publicity increasingly popular sideline. encourage, inspire and empower New South Wales Press in Australia

May Yao
Q & A with Intellect’s Associate Publisher
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
campaigns for the author rather
than producing a book or journal
books in emerging subject areas
that other publishers wouldn’t
take on due to the small size of the
market. The original inspiration
for setting up the company has
become the backbone of the
company ethos. We have found
that there is a real demand from
authors and editors to get their
original material published and
to get their ideas out there, even if
there isn’t already an established
readership for them.
must receive a positive peer review,
ensuring a high calibre of material
and ensuring that the publications
are brought to their full potential.
Our published material also
undergoes careful copy-editing,
sophisticated design and layout
and comprehensive distribution
and marketing strategies.
What is Intellect’s position in
the current economic climate?
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.
What is your approach to
marketing?
Intellect has a dedicated
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 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
Testimonials
We have recently decided to
price all our new e-books at $15
each, in an effort to make them
more accessible. We are not
only committed to discovering
new methods of making content
available to potential readers,
but are also keen to use new
technologies and explore current
trends in social networking & Web
2.0 platforms.
How do you manage to publish
the wider community that
benefits from a journal. Starting
from the editorial team, then the
boards, subscribers and the wider
academic community, a truly
successful editor can enthuse and
harness the potential of this group,
maybe even change its direction.
Our partnership with journal
editors who are passionate about
their journal is essential, and we
invest a lot of time and energy in
ensuring that we have a positive,
and New Zealand. We are also
working relentlessly to ensure
that our books are made available
through the latest electronic
distribution methods, as well as
through the more conventional
routes. We are working closely
with several e-book distributors
including NetLibrary, Ebrary and
MyiLibrary, as well as Google Book
Search and Amazon.

How do you ensure the

to fill a gap in the market.
How does Intellect differ from
other publishers?
Intellect started in 1986 as a hobby
for our founder Masoud Yazdani,
while he was a lecturer in Media
Computing at Exeter University in
England. His idea was to publish
4 | Thinking in Colour
academic quality of your
publications?
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
high academic value. All our titles
Due to our unique approach, we
seem to have been able to weather
many a financial storm and
grow year by year. 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.
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. 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
R
‘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
R R
R
‘It was great to work with a company that
‘Working with Intellect is a real partnership.
has a love of the subject and was ready to
consider a previously unpublished author.
From the outset the staff at Intellect were
supportive through the whole process from
proofing to marketing.’ – Roger Wooster,
Author of Contemporary Theatre in
Education
R
Their editorial staff is open, creative, and
responsive. This is the first academic
journal I have edited, and I found their
advice and guidance invaluable.’ –
Tim Wall, Editor, The Radio Journal
R
IQ 2009 | 5
Theater & Music
iQuote » “Real success is finding your lifework in the work that you love.” – David McCullough
intellect Journal Focus
Defining
and Exploring
Community Music
Andy Lagrimas, IJCM Journal
Administrator, New York University.
In its first year of
publication, the International
Journal of Community Music has
already claimed a unique place
in the field of music research.
Founded by David Elliott, Lee
Higgins and Kari Veblen, the
journal features articles, reports,
book reviews, editorials and
stories concerning all aspects
of community music. Although
still in its infancy as a published
journal, the IJCM traces its
origins back to 1982, when the
International Society for Music
Education (ISME) launched its
6 | Thinking in Colour
commission for Community
Music Activity (CMA). Since
then, the ISME community music
association has met biannually
in different locations around the
world. Both the online version
of the journal (www.intljcm.
com) that appeared in 2004, and
the first print edition in 2008,
fulfilled a long-held desire of
the ISME CMA to report their
work, and that of like-minded
practitioners, and educators
to a global community.
Inevitably, a question readers
and contributors ask when
approaching the journal is “what
exactly is community music?”
Both editors are equally broad in
their definitions. David Elliott
defines community music as
“incredibly open, fluid and
changing.” Using Jackson
Pollock’s paintings as an analogy,
he suggests that community
music is kaleidoscopic through
its celebration of diversity.
Meanwhile, Lee Higgins suggests
that community music can
be understood through five
different dimensions: people,
participating, places, context and
diversity. In other words, both
editors agree that settling on a
single definition or conception
of the field is antithetical to
both the IJCM and to community
music itself. This constantly
shifting nature of community
music is a reflection of the
ongoing transformation and
evolution of cultures and human
musical practices worldwide.
Even those who claim familiarity
with the complex and difficult-
to-define nature of community
music often break it down into
two basic themes: a) Music-
Theater & Music
iQuote » “Success usually comes to those who are too busy to be looking for it.” – Henry David Thoreau
making that occurs outside the
formalized institutions such as
conservatories, public schools, or
universities, and b) Partnerships
or outreach programs between
schools and professional music
organizations, such as guest
artists from the local symphony
working with music classrooms
in a school. While both views
are representative, they only hint
at the full depth to community
music in all its dimensions and
complexities—a phenomenon the
IJCM seeks to reflect in its pages.
Even though the IJCM encourages
an open approach to defining
community music, its overall
mission is clear: as a cutting-
edge academic research journal,
the IJCM attempts to stress
community music’s potential to
“inform, inspire, and transform
lives and communities” focusing
on music as both theory and
practice. For Higgins, this means
community music can take on
sociological roles. He states that
music is “not just music in the
community, otherwise it could
be anything—it’s all about music
as advocacy” and even in some
cases “a form of intervention.”
For example, recent articles
include a report on the DIME
(Diversion into Music Education)
program in South Africa that
provided music instruction for
juvenile offenders, as well as a
discussion of the rise of the Gay/
Lesbian/Bi-Sexual/Transgender
(GLBT) Chorus movement.
As befitting the broad
conception of community music
that it promotes, the IJCM seeks
a similar depth of variety in its
published content. According
to Higgins, the journal falls
roughly into three distinct
sections: research articles,
project reviews and field research
reports on new initiatives
such as conference reports.
Similarly, the current editorial
board represents a diverse span
of musical backgrounds in
teaching, performance, sociology,
philosophy, history, and research.
Even with a proliferation of other
music research journals, the co-
editors clearly see a need for the
IJCM. Elliott contends, “there
has been very little research” on
the subject, and that through
the journal, community music
can raise its status and value as
a scholarly discipline. Higgins
agrees, stating that, the IJCM
provides a “container to develop
both scholarship and practice
in community music.”
According to both editors, the
journal marks a departure from
existing music scholarship
in that it is based equally on
academic research as much
as the actual engagement in
practicing music—whether
it is performance, listening,
composing, or other performance
arts such as dance and drama.
Hopefully this will attract
a broader segment of the
population not just in terms of
readership, but also in potential
contributors and scholars. As
Elliott says, “I think the journal
is doing well in the academic
[field], but we also want to draw
from people less inclined to write
academically. I think we need
more reports from people who
are practitioners in music at the
grassroots level. We don’t want
to separate theory and practice.”
As for the journal’s future, the
possibilities for research are as
wide open as community music
itself. In the future, Higgins
describes issues that will take a Further Reading
more in-depth focus on specific
aspects of community music,
such as a planned issue on
International Journal
ritual, spirituality and faith, and
of Community Music
community music within the
ISSN: 17526299
criminal justice system. As well
as an emphasis on music outside
of schools, the IJCM seeks also
to provide inspiration and ideas Editors
for school teachers looking to David Elliott
provide innovative teaching New York University
methods and address a wider david.elliott@nyu.edu
variety of musical cultures and Lee Higgins
practices in the classroom. Westminster Choir
Despite the possibility of College of Rider
specialized issues, however, University, USA,
Elliott believes that the IJCM lhiggins@rider.edu
should also continue expanding
the scope and dimension
of community music and
warns, “it will be absolutely
counterproductive for our
journal and for community
music itself to limit things.”
Higgins agrees, stating that the
journal must include as diverse a
group of voices as possible and
emphasizes that “the journal
cannot become another instance
of the same old people talking
amongst themselves.” For
the IJCM to remain true to its
mission, it will need to continue The International Journal of
evolving and transforming, Community Music publishes
folding in a diversity of voices. research articles, practical
For more information contact discussions, timely reviews,
the editors of IJCM: readers’ notes and special
issues concerning all aspects
David Elliott of Community Music. The
New York University editorial board is composed of
david.elliott@nyu.edu leading international scholars
Lee Higgins and practitioners spanning
Westminster Choir diverse disciplines that reflect
College of Rider University the scope of Community Music
lhiggins@rider.edu practice and theory.
IQ 2009 | 7
 intellect publishers of original thinking intellect publishers of original thinking

Media & Culture Film Studies

Books & Journals Books & Journals
Media & Values: Intimate Journal of Gaming New for 2009
Transgressions in a Changing Moral & Virtual Worlds Beyond Auteurism:
and Cultural Landscape Principal Editor: Astrid Ensslin New Directions in Authorial Journal of African Cinemas
Film Practices Principal Editor: Keyan G.
By Matthew Kieran, David E Morrison, Associate Editor: Eben Muse
Tomaselli.
Michael Svennevig, Sarah Ventress ISSN: 1757191X | Vol 1 2009: 2 issues By Rosanna Maule Associate Editor: Martin Mhando
$60 | ISBN 9781841501833 | pb $60 | ISBN 9781841502045 | hb ISSN 17549221 | Vol 1 2009: 2 issues

Switching to Digital Television: Journal of African

UK Public Policy and the Market Media Studies Alternative Worlds in Journal of Japanese &
Principal Editor:Winston Mano Hollywood Cinema Korean Cinema
By Michael Starks Editors: David Desser &
Associate Editors: Monica Chibita By James Walters
$40 | ISBN 9781841501727 |pb Frances Gateward
& Wendy Willems $ 30 | ISBN 9781841502021 | pb
ISSN: 17517974 | Vol 1 2009: 3 issues ISSN 17564905 | Vol 1 2009: 2 issues

Television and Criticism Interactions: Studies in Australian Post-War Studies in South Asian
Communication & Culture Documentary Film: Film & Media
Edited by Solange Davin, Rhona Jackson
Principal Editor: Anthony An Arc of Mirrors Principal Editor: Alka Kurian,
$40 | ISBN 9781841501475
 | pb Associate Editors: Jyotsna Kapur &
McNicholas. Associate Editor: By Deane Williams Aarti Wani
Tarik Sabry $60 | ISBN 9781841502106 | hb ISSN 17564921 | Vol 1 2009: 2 issues
ISSN: 17572681 | Vol 1 2009: 3 issues

read
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Have an original idea the world simply needs to
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‘If there are any publishers out there with a more
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them published. To send us your new book or journal outspoken film and media journals and publications
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www.intellectbooks.com/publish.html Daniel Lindvall, Editor Film International

intellect | www.intellectbooks.com | Book Orders: 1-800-621-2736 | Journal Orders: 1-860-350-0041 intellect | www.intellectbooks.com | Book Orders: 1-800-621-2736 | Journal Orders: 1-860-350-0041
Art & Design
iQuote » “To accomplish great things, we must dream as well as act.” – Anatole France
intellect Book Focus
Same old,
same old
design?
By Sharon Poggenpohl
Is the practice of design
changing? Do clients, colleagues
and the increasingly technological
culture in which we live require
more than a standard translation of
concept into execution for dissemi-
nation along with some aesthetic
refinement?
Design Integrations argues that de-
sign practice is changing—clients
are looking for value-added ideas
from design and innovation that
fits technological possibilities into
human need and habit. The trans-
lation is not so radical that only a
few techno-savvy individuals can
use it; it needs to be sympathetic
to people’s current understanding
and use. Consequently, sensitive
form making and technical transla-
tion are not enough, designers
need to understand the human
context and situation of use, and
this goes for many varieties of
design practice—architectural,
communication, interaction,
product, etc. Colleagues are look-
ing for intelligent and creative
collaborators, and technological
culture, with its pace of change,
10 | Thinking in Color
makes collaboration and life-long
learning essential. The important
problems that design is asked
to address, require a variety of
participants from different disci-
plines who can contribute ideas
and information from various
perspectives and effectively work
together. Their collaboration often
involves research and understand-
ing of how research results can be
transformed into design action and
subsequently evaluated based on
criterion that goes beyond beauty
to such notions, for example, as
fitting into a lifestyle, benefiting
ecology, fostering understanding
and use.
Is design education address-
ing these new demands that can
be defined by a need to integrate
research and collaborative skills
into design education? There are
some design programs, dispersed
internationally, that have a new
vision for design and its educa-
tion, but unfortunately many, if not
most design schools, are caught in
the traditional design paradigm of
aesthetic and technical skill train-
ing, often underpinned by well
accepted and respected Bauhaus
principles, whether at the under-
graduate or graduate level. Much
design education is stuck in the
early twentieth century and life has
changed substantially since then.
Teachers of design might care-
fully examine the best of contem-
porary practice to see how design
is changing; they need to over-
come their aversion to notions of
research, theory, or teamwork. Re-
search sets the stage for meaning-
ful design development that uses
the best information available in a
fast changing world, and research
takes many useful forms depend-
ing on the question to be an-
swered. It could be quick and dirty
observation of people in a context
of using something. Or it could be
technologically assisted eye track-
ing to see where people’s attention
is drawn. Theory is an abstrac-
iQuote » “We need men who can dream of things that never were.” –John F. Kennedy
tion useful for spotting recurring
patterns, as they serve as an aid to
memory and attention. Theory can
help designers focus on what is im-
portant as they synthesize the vari-
ous aspects under consideration.
Finally, teamwork creates a larger
landscape for design development
as more knowledge and ideas can
be entertained as team members
share perspectives and learn from
each other.
Design education, and teach-
ers in particular, are challenged
to develop a twenty-first century
approach to learning that goes
beyond art or technique, that
can mediate between technology
and people, bridge disciplinary
cultures, contribute to human well-
being, and inspire students to be
reflective and creative participants
in life—through design. {
Sharon Poggenpohl is the Editor/Pub-
lisher of Visible Language.
Art & Design
The Designer: Half a Century
more books of Change in Image,
of interest n Training, and Techniques
By Rosemary Sassoon
$30 | ISBN 9781841501956 | pb
In The Designer, Rosemary Sassoon surveys
fifty years of change in the world of design,
evaluating the skills that have been lost,
how new techniques affect everyday work,
and how training methods prepare students
for employment. This indispensable volume
reveals how design is both an art and a skill
– one with a rich past and momentous rel-
evance for the future.
Along the way, Sassoon traces the fascinat-
ing trajectory of her career, from its begin-
ning at art school and an early apprenticeship
to her work as an established professional,
with advice for designers at every stage of
their own development. Weaving together bi-
ography and career advice, theory and prac-
tice, The Designer provides a unique history
of the art form and looks ahead to an age of
ever-changing attitudes to drawing, aesthet-
ics, and artistic practice.
Further Reading
Design Integrations:
Research and Collaboration Digital Experience Design:
Edited by Sharon Poggenpohl Ideas, Industries, Interaction
and Keiichi Sato Edited by Linda Leung
$40 | ISBN 9781841502403| pb $60 | ISBN 9781841502090 | hb
Due to be published May 2009
Digital Experience Design chronicles the
Design is changing, and to educate diverse histories and perspectives of people
the next generation of designers, these working in the dot.com world, alongside
changes need to be addressed. In an account of the current issues facing the
light of the growing role research and industry. From the perspective of disciplines
interdisciplinary collaboration play in contemporary design such as education, fine art and cinema,
performance, Design Integrations calls for an innovative shake up this volume investigates how dot.com
practitioners balance the science of usability
in design education.
with abstract factors such as the emotional
Poggenpohl asserts that design research is developed through
response design can provoke. With in-depth
a typology within academic and business contexts, and follows
discussion of a variety of disciplines and
different research theories and strategies. Such issues in design
topics, including screen-based design and
collaboration are explored in-depth, with essays on an inter- e-learning, this edited volume is a valuable
institutional academic project, cross-cultural learning experi- resource for industry practitioners and
ences, and a multi-national healthcare project, demonstrating students and teachers of interactive media.
the importance of shared values, interdisciplinary negotiated
process and clear communication for tomorrow’s designers.
IQ 2009 | 11
Theater & Music
iQuote » “Education is the best provision for old age.” – Aristotle
intellect Book Focus
By Jon Tuttle
The Trustus Plays
and Existential
Re-Imagination
To mutilate Kierkegaard:
one may write his plays forward,
but he can understand them only
backward. Before writing my
introduction to the three texts
collected in The Trustus Plays, I was
visited by the apprehension that
they had only two things in com-
mon. One was me, because I wrote
them, and the other was Trustus,
the theater in South Carolina that
produced them. Certainly their
creation, either individually or as
whole, proceeded from no par-
ticular principle. Each began as a
single image or fact or sensation
which nagged at me until I could
people and plot it, which itself was
a long, frustrating process akin to
staggering blindfolded through a
maze. And that’s all.
The Hammerstone is an academic
comedy about futility, because
I’m an academic, which makes
me an expert. Drift is a dark
comedy about marriage, because
I’ve been divorced twice, which
makes me an expert. Each won
the Trustus Playwrights’ Festival,
an annual competition culminat-
ing in a mainstage production
12 | Thinking in Color
each August, which launched my
now decade-long affiliation with
Trustus as Playwright-in-Residence
and then Literary Manager.
Having a theatrical home that
I knew would produce it inspired
me to write Holy Ghost, a play
which had been gnawing at me for
years. In 1991, I read a newspaper
article about German prisoners of
war being warehoused in South
Carolina camps during World War
II. They were made to pick cotton
and, when they tried to escape to
freedom in the north, were tracked
down by the black GI’s who
guarded them. On this topic I was
no expert, but I knew a near-perfect
inversion of the Fugitive Slave Act
could make a good play, so I dug
into the research and watched for
my story.
What emerged was a parade of
ironies too delicious to ignore.
One was the Pentagon’s secret
re-education program meant to
intellectually rewire the prisoners
and belie Nazi charges of American
decadence and hypocrisy. Except
for the Jane Russell movies, it
looked a lot like Goebbel’s pro-
Holy Ghost
The Trustus Playhouse
paganda machine. The play kept
mushrooming into a vast, unwieldy
socio-political, docu-epic until fi-
nally I forced into it the one simple
thing that would make it a play: a
character who wanted something
and who made difficult choices in
order to get it.
That character is Henry, upon
whom Holy Ghost plays an elaborate
joke. He is a black private who
hunts down, then befriends, then
betrays an escaped “Nazi”. Along
the way, he is asked again and
again to choose between allegianc-
es conditioned by his race, nation-
ality and personal affections, but
every choice he makes turns out to
be wrong, and he ends up behind
bars and destined to perform a holy
ghost—prison camp shorthand for
forced suicide. All of his actions,
to mangle Sartre, are the same in
that they are doomed to failure.
But I didn’t realize that until after
I’d written the play.
Any artist who claims not to
subscribe to any particular theory
or philosophy is probably in the
grip of one of which he’s unaware.
So it was with me. Looking back
Theater & Music
iQuote » “The great aim of education is not knowledge but action.”– Herbert Spencer
through these plays, I saw other
protagonists who, like Henry, were
forced into enormous choices they
were unprepared or reluctant to
make, and thereby concluded I
must always have been sort of exis-
tentialist. In The Hammerstone, that
character is Murray, an unassum-
ing English professor who must
confront on a daily basis the ques-
tion of what gives life value and
keep living it, even as his answers
turn out to be wrong. In Drift,
middle-aged housewife Barbara
assembles a mountain of evidence
against the sanctity of her thirty-
year marriage and yet gratefully
accepts the lie that will sustain it.
I am now writing my fourth
Trustus play, The Sweet Abyss, about
a woman plunged into paralyzing
grief by the death of her cat. You’d
think that retroactively discovering
the recipe for my plays would help
me write it. So far, it hasn’t. The
thrill and challenge of playwriting
is not knowing where you’re going
until you’ve got there – and then
taking off the blindfold. {
Screen from Holy Ghost
Further Reading
The Trustus Plays
By Jon Tuttle
$30 | ISBN 9781841502243 | pb
Part of the Playtext series
Published February 2009
The Trustus Plays is an intriguing col-
lection of three full-length plays by US
playwright Jon Tuttle. The Hammerstone
(1994) is an academic comedy about
two professors aging gracelessly; Drift
(1998) is a dark comedy about marriage and divorce, and, Holy
Ghost (2005) portrays the plight of German POWs kept in camps
in the American South. Each is a winner of the national Trustus
Playwrights Festival contest, and each has been produced by the
Trustus Theatre, in Columbia, South Carolina. Trustus founder
and Artistic Director Jim Thigpen provides a preface describing
the theatre’s dedication to experimental, “edgy” social drama,
and Tuttle’s striking work has served that mission.
Lovefuries: The Contracting
more books Sea; The Hanging Judge; Bite
of interest n or Suck
By David Ian Rabey
$25 | ISBN 9781841501840 | pb
Part of the Playtext series
Lovefuries offers a double bill of performance
pieces that explode national and personal
pressures to keep silent, and explore the sur-
prising and shocking resurgences 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 hu-
manity. The second play, The Hanging Judge,
explores from the inside an occurrence of
sexual abuse in a contemporary Welsh con-
text, and examines 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 that restlessly explores
what is possible at the extreme boundaries of
human language and physicality.
Russia, Freaks and
Foreigners: Three
Performance Texts
By James MacDonald
$30 | ISBN 9781841501864 | pb
Part of the Playtext series
Russia, Freaks and Foreigners is a collection
of three thematically linked plays set against
the backdrop of a fractured, post-Soviet Rus-
sian society. Written by acclaimed playwright
MacDonald, who is cerebral palsied, these
performance texts critique accepted notions
of normality, offering various models of dif-
ference – physical, cultural and moral. Their
themes, contextualized here by companion
essays, expand the boundaries of British
drama. MacDonald is one of the few severely
disabled playwrights to have his work staged.
Consequently, Russia, Freaks and Foreigners
is a daring portrayal of disability from the
inside.
IQ 2009 | 13
Film Studies
iQuote » “Art is born of the observation and investigation of nature.” – Cicero
intellect Book Focus
Pride and Panic
Russian Imagination of the
West in Post-Soviet Film
By Yana Hashamova
Pride and Panic: Russian Imagi-
nation of the West in Post-Soviet Film
examines films, characters and
themes in order to investigate how
Russia has reacted and adjusted to
the expansion of western capital
and culture in Russia itself. My
analysis focuses on Russian films
produced after the collapse of
the Soviet Union, paying special
attention to those made during
the last decade – a period in which
the Russian film industry began to
revive and became more market-
oriented, reflecting social angst.
This book studies Russia’s imag-
ination of the West, an imagination
which in its shifting fantasies, fears
and anxieties resembles changes
similar to those the adolescent
undergoes in search of a more
stable and permanent identity.
Russian national identity adjusts
to political, social, economic and
cultural transformations occurring
in Russia and in the global world.
In this adjustment, the Russian
collective imagination reacts to the
western presence in Russian society
as it exhibits disparate attitudes
that take the form of superfluous
and impatient relations with the
(western) other, aggressive and
paranoid urges, complete rejec-
tion of external (western) models,
search for positive internal sources
(past and culture) for identification,
14 | Thinking in Color
and a more mature and reflective
perception of self (Russia) and
other (West) with their constructive
and destructive aspects.
Attempting to establish links
between political ideology, psy-
choanalysis and cinema, I have
also traced the shifting dynamics
of Russia’s fantasy of the West as
it appears in post-Soviet cinema.
Thus, my critique of early 90s
films reveals the illusionary nature
of this fantasy as manifested in
clichéd images and patriotic mes-
sages. The collapse of the Berlin
Wall tempted Russian viewers with
unimagined opportunities, but, as
it becomes clear in the films, these
opportunities were deceptive and
the fantasy of the West remained
potent. In the mid-1990s, when the
West became a part of Russian life,
new fantasies emerged, namely
aggressive anti-western senti-
ments as well as admiration for
Russia’s moral superiority (evident
in Balabanov’s films).
Russia’s search for a new na-
tional identity finds expression in
films that glorify Russia’s unique-
ness in history, art and religion.
Mikhalkov’s The Barber of Siberia
and Sokurov’s Russian Ark turn
the viewers’ attention to Russia’s
rich history of honor, dignity and
loyalty to one’s country, as well as
world-class culture, and, thus, its
Storozheva’s The Frenchman
potential for a glorious future.
There are films that allow a
more diverse discourse that not
only produce aggression but also
deflate it. Peculiarities of the National
Hunt in Fall and Cuckoo encourage
understanding and acceptance of
difference. Rogozhkin advocates
agreement and friendship and re-
sists hatred and violence. Of Freaks
and Men even suggests Russia’s
destructive attitudes and the way
it is capable of victimizing ethnic
others.
Russia’s entanglement with
the West also becomes apparent
in films that portray romantic
relationships between Russian and
western characters. Russian view-
ers’ desire to find happiness in a
union that transgresses national
borders is inscribed in films such
as On Deribasovskaia, Window to
Paris, The Barber of Siberia and The
Frenchman. These films, how-
ever, deny the possibility of such
happiness, which in turn speaks
of political, social and historical
conditions hostile to interna-
tional relationships. The desire to
Afghanistan Guinea Papua New Guinea Bangladesh
Guinea-Bissau Rwanda Benin Honduras São Tomé Bhutan
Iraq Senegal Burkina Faso Kazakhstan Sierra Leone
Burundi Republic of Kenya Solomon Islands Cambodia
identify with one’s country and its
problems reigns over the desire to
be cosmopolitan.
Kyrgyz Republic Somalia Central African Republic Lao
PDR Sudan Chad Liberia Tajikistan Comoros Madagascar
Over the last two centuries,
Russia has continually shocked
the world. It implemented Marxist
theories, much to Marx’s own Tanzania Congo Dem Rep Malawi Timor-Leste Côte
disbelief, in that country’s readi-
ness for revolution. The October
Revolution shook the world with
d’Ivoire Mali Mauritania Togo Eritrea Mongolia Uganda
its attempt to liberate people from
their idols (money, property and
religion) and prepared the post-
El Salvador Mozambique Uruguay Ethiopia Myanmar
modern rearrangement of knowl-
edge by questioning all traditions. Uzbekistan Gambia Nepal Yemen Rep Ghana Niger
This book uncovers Russia’s latent
desires and fantasies in her rela-
tions with the West, but in spite
Zambia Guatemala Palestine Zimbabwe
(or because) of them, Russia has
always been a fascinating place,
with its mixture of globe-shaking
politics and world-class culture.
The future – whatever it holds –
promises nothing less. {
Yana Hashamova is Assistant
Professor in the Department
of Slavic and East European
Languages at Ohio State University.
Further Reading
FREE online access
Pride and Panic:
Russian Imagination
of the West in Post-
Soviet Film Intellect warmly invites universities and institutions from less
By Yana Hashamova
$55 ISBN 9781841501567
economically developed countries to FREE online access to our
journals portfolio. We hope that this scheme will prove benefi-
cial for scholars in Art, Theater & Music, Media, Culture and Film.
For full details please visit
www.intellectbooks.co.uk/online-access/online-access3.php
journals@intellectbooks.com / +44(0)117 958 9910 / Intellect, The Mill, Parnall Road, Bristol, BS16 3JG, UK
intellect by numbers
Law of Averages for our staff Law of Averages for our staff Law of Averages

Intellect authors, editors and contributors come from 61 countries around the globe:

30.1 46
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Google Analytics 11 Oct 2007 – 6 Jun 2008
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1986 1992 2001 the

2008 Future
The first issue of Artificial Intellect granted trade mark Intellect moved to a former
for newspapers periodicals; paper mill in the Fishponds Publishing 35 books and 37
Intelligence Review, The launch of our new
books and leaflets; all relating area of Bristol, redeveloped journals, employing eight full
Intellect’s first journal, was interactive website.
to the acquisition of knowledge. especially for its needs. time staff.
co-published with Blackwell Publishing directories
Scientific Publications. Publishing seven books and two Publishing twelve books and
of world cinema.
Numbers in dates journals without any full
time employees!
eight journals, employing
three full time staff.

1985 1987 1988 1990 1991 1997 2000 2002 2004 2007

1984 1989 1993 1999 2006 2009

Intellect was formed as Intellect published its Expanding into North America
Intellect rented a small Intellect granted Investors
a Limited company in first three books in a co- Intellect relocated its office
office on the Exeter campus in People recognition
to Bristol and employed From January 1st 2009, Intellect
England and Wales by publishing deal with the US of Plymouth University and for its human resources
its second full time staff has a base in North America
Masoud Yazdani and two publishers, Ablex. employed its first full time management. Publishing
member. Published eighteen as well as our main offices in
other university academics, staff member. Publishing ten 25 books and 21 journals,
books and five journals. Bristol, England. 35 books and
initially offering advice and books and three journals. employing five full time staff. 46 journals employing
running seminars. Website launched. twelve staff.
Q&A Liza Palmer
iQuote » “If you have knowledge, let others light their candles at it.” – Margaret Fuller iQuote » “Creativity is a drug I cannot live without.” – Cecil B. DeMille

intellect People Focus

It’s also interesting to note that
the editors of FI used to need to
be a lot more proactive in finding
publishable content, whereas now
more and more contributors are
coming to us, which is a great
feeling. Indexing is an added
bonus, too – being referenced in
such databases as EBSCOhost’s
Film and Television Literature
Index with Full Text greatly
improves our visibility. The future
for journals is definitely electronic
access and that future is already
here. So it’s hard not to credit our
partnership with Intellect with our
strengthened position within the
film studies community.
How do you find working with
a publisher that is not based in
and out of touch with international
practices.
What does Film International
bring to the debate on cinema?
Film International is a delightful
hybrid – and, as in all things,
our hybridity ultimately makes
us stronger. We offer authors a
safe haven in which to engage in
scholarly dialogue and discourse.
There are very few limits we place
on our contributors, which, in
turn, translates into provocative
content for us – a win-win
situation. However, while we
are scholarly in nature, it is very
important to us that we still
achieve a very readable format
and appeal (i.e. color images,
pull quotes, dynamic layout),
(reviews of experimental and/
or truly independent films) and
“Film Happenings” (profiles of the
achievements of our scholars and
readers) are vital to furthering our
mission.
What do you consider to be
the most important current
debates and discussions to
focus on cinema?
I’ll be the first to admit that I
am a film snob. Coming from
a background at Bard College,
where you develop an appreciation
for avant-garde cinema and
practice, I have an interest in (and
possible blind spot for) medium
specificity. I think that the field of
film studies continues to struggle
with this issue, particularly given
means, too, that, in turn, more
people are reading, full stop, and
not just Film International.
What is the relationship
between Film International /
Intellect and UNCW?
About two years ago, the Film
Studies Department at the
University of North Carolina
Wilmington became a major
partner of Film International (in
addition to the Swedish Arts
Council), supporting the review
section – which is no small
contribution when you consider
how many books and DVDs I
send out to reviewers throughout
the world each month – and
our annual undergraduate essay
contest for excellence in film
have just been advertised. The
department benefits from the
range of film and TV productions
that shoot in Wilmington, offering
us many internship positions for
our students. There’s also our
partnership with the Cucalorus
Film Festival, which is simply one
of the best film-related events
around, mixing regional premieres
with local screenings and even
panels of Film Studies faculty
and students. Above all, though,
we aim to mix the disciplines of
film production with film history/
analysis/theory. Our students
program in the 35mm campus
movie theater; they host film events
for the campus and community;
they publish essays, reviews and
research, both online and in print
a combination of all three. But
the recent films that made an
impact on me, for similar reasons,
would have to be Atonement (2007)
and Lust, Caution (2007). I am a
sucker for period films – always
have been. But I also appreciate
films that don’t wholly cater to the
audience and that are open-ended
in nature – that allow me to puzzle
the narrative out. It’s refreshing to
see films that are adult in themes
and that don’t fall into the typical
cliché of reveling in violence but
shying away from sexual content.{
Liza Palmer is Review Section Editor
of Film International and Fine Arts
Librarian at the University of North
Carolina, Wilmington.

Liza Palmer
Q & A with Review Section Editor, Film International
How did you form a
partnership with Intellect?
Since 2004, I have had the
singular pleasure to be Review
Section Editor for the journal, Film
International. Just after I started
work on FI, we began to search for
publishing partners not only to
help sustain FI but also to broaden
the project overall. Responding
to our call for partners, Intellect
approached us and, as a result of
this partnership, FI has blossomed
into a resource in a way that none
of us expected. I’ll always have
affection for the grassroots days,
before Intellect came on the scene
brought to the publication of
Film International?
Film International always produced
thought-provoking issues, thanks
to the efforts of our strong and
incisive scholars and contributors.
That hasn’t changed a bit. But
Intellect has given us a style to
match the content – there’s a clarity
to our purpose and impact now,
I feel. Every issue is a pleasure to
read, on both an intellectual and
visual level, which is increasingly
important in this day and age – if
you don’t have a dynamic and
aesthetic product, it’s hard to be
taken seriously and to compete.
the US?
I love that we work with a non-US-
publisher – it adds to our global
pedigree. Film International is based
in Sweden, published in the UK,
supported by partners in Sweden
Film International is a delightful hybrid
– and, as in all things, our hybridity
ultimately makes us stronger. We offer
authors a safe haven in which to engage
in scholarly dialogue and discourse.
and the US and filled with pieces
from contributors worldwide. It
doesn’t get more international and
exciting than that. Working with
a non-US publisher, like Intellect,
helps expose us to more scholars,
more opportunities, more
methodologies and more readers.
which a lot of scholarly journals
aren’t able to sustain. We have
high standards but don’t take
ourselves too seriously, which
results in a compelling and unique
product for our readers. Finally,
as a nonprofit publication, I feel
we have a strong service ethic –
our aim is to stay on the cutting
edge, covering topics and issues
that are on the fringe. We reach
out to films and film-makers
that don’t typically get access to
this type of scholarly attention.
the prevalence of new media and
the digital format. So as the study
of film continues to evolve, how
we define cinema will change
accordingly. I try to keep my mind
open while still recognizing that
my feet are very firmly rooted in
the 20th and not the 21st century! I
foresee that the notion of copyright
will more greatly impact how
film is created, encountered and
experienced – and, related to this, I
wonder, too, whether film theaters
are on their way out.
Is there room for new
publications to cover topics
not covered in existing media?
Oh, definitely. I think that the
publishing world has become
much more democratic in the
last ten years or so – probably
as a result of the influence of
the Internet and such Web 2.0
criticism, the Frank Capra Award.
The UNCW partnership has
certainly made my work for FI that
much more easy and enjoyable,
freeing my time up to explore
new prospects for the journal.
It’s become a mutually beneficial
relationship – UNCW is able to
offer competitive applied-learning
opportunities to its Film Studies
students, via internships at the
Intellect office in Bristol, UK and
with me here in Wilmington. It’s
stimulating and a good reminder
that an organization is made
stronger and more relevant by new
partnerships.
What are the latest
developments within the film
studies program at UNCW?
Film Studies – and, indeed, UNCW
in general – is an exciting place
to be right now. The department
journals. Altogether, they’re
helping build a really diverse
and cineliterate film culture in
Wilmington. The icing on the cake
will be graduate programs, which
we’ll be creating very soon.
Tell us about the best film
you’ve seen in the last 6
months.
Since I had my son two years
ago, film watching as I used to news
know it has become a much more
rare experience for me. And, in features
many ways, that’s not such a bad reports
thing – seeing films should be
an event not taken for granted. books
Of course, the downside is that
essays
profiles
with less opportunity to get
out to the theaters, I have a less
successful hit rate than I used
to – and I am not sure if that is
dvds
because films are decreasing in www.filmint.nu
overall quality, or I am aging out

– but, honestly, I haven’t missed
those days all that much.
What do you feel are the
qualities that Intellect has
Plus, Intellect has helped us from
an organizational standpoint
– we’re much more structured
throughout the publishing process.
I would almost argue that journals
should publish with companies in
other countries – otherwise, you
run the risk of being too insular
So, for instance, our Nollywood
issue (5.4, 2007) was a real labor
of love for us; and our regular
columns like “Film Scratches”
technologies as blogs and wikis.
There is a lot more opportunity
for authors to get published on a
wider variety of topics. I hope this
has grown a tremendous amount
in the last five years, reflected,
for example, by the two new
assistant professor positions that
filmint
of the target demographic for
Hollywood products, or simply
my expectations are too high for
my special nights out! Probably

18 | Thinking in Color IQ Spring 2009 | 19


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Individuals
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Book Reviews
iQuote » “Humanity can be quite cold to those whose eyes see the world differently.” – Eric A. Burns
Alternative Worlds In Hollywood
Cinema: Resonance Between Realms
By James Walters
$30 | ISBN 9781841502021 | pb
Reviewed By Ryan McKnight
In Alternative Worlds In
Hollywood Cinema: Resonance
Between Realms, author James
Walters begins his scholarly
investigation of cinematic worlds
by laying out his groundwork for
discerning the differences between
the various types of realities found
in cinema. Within the opening
chapter, Walters establishes his
criteria for what he refers to as
three categories of cinematic
worlds, namely, “Imagined
Worlds, Potential Worlds, and
Other Worlds.” Throughout the
remainder of the book, Walters
presents his analysis of each of
these alternate worlds using an
elaborate web of case studies as
illustrations.
In addition to discussing the
structural deviations found between
cinematic worlds, Walters also
delves into detailed accounts of the
“resonance” which he posits links
the real and illusory worlds within
his case studies. In his critique of
Eternal Sunshine of the Spotless Mind,
for instance, Walters examines, in
depth, certain verbal and visual cues
within the film’s ‘real’ world and
the world of character Joel Barish’s
mind. According to Walters, these
cues point to a recurring desire of
the two main characters to return
to a state of childhood, hence the distinguishing between the various prove an invaluable resource for
subtitle “Return to Innocence” of types of cinematic worlds, which, anyone interested in scholarly study
chapter four. Walters asserts, “is crucial if we are and thought regarding reality as
Although rather loquacious to appreciate fully the statements created by Hollywood film-makers.
in his descriptions and analyses,
James Walters excels in bringing
each film wishes to make about the
experiences, emotions and actions Ryan McKnight is an
to light minute and yet revealing of its protagonists” (214). undergraduate student at the
details in character movement and Given the profundity of Walters’ University of North Carolina
vernacular. With a critical eye for investigations, this book should Wilmington, USA.
even the subtlest of acting cues,
Walters illuminates aspects of
various actors’ performances in
case studies that would generally
go unnoticed by all but the most
attentive of cinematic scholars.
In his critique of the alternative
world of Donnie Darko, Walters
observes,
“Cutting back to the image
of Gretchen, we notice her
expression develop minimally
from perplexity to incorporate an
element of sorrowful remorse, as
though she actually shared Rose’s
pain, rather than just appreciating
it” (109).
Such nuanced analysis of
performance is found in all of
Walters’ case studies.
Within the concluding pages
of his work, Walters provides the
reader with brief and eloquent
summaries of the overarching
themes of his study, again
Screenshot from Eternal Sunshine of a Spotless Mind
emphasizing the importance of
IQ 2009| 21
 intellect publishers of original thinking
Book Reviews

Art & Design iQuote » “To live a creative life, we must lose our fear of being wrong.” – Joseph Chilton Pearce

Hong Kong New Wave

Cinema (1978 – 2000)
more books
of interest n
Beyond Auteurism: New
Directions in Authorial Film
Practices in France, Italy and
By Pak Tong Cheuk Spain since the 1980s
Books & Journals $40 | ISBN 9781841501482 By Rosanna Maule
$60 / ISBN 9781841502045 / hb
The Designer: Half a Century of Journal of Arts and Reviewed By Ian Touchstone-Griffin Beyond Auteurism is a comprehensive study
Change in Image, Training, and Communities of nine film authors from France, Italy and
Spain who have blurred the boundaries be-
Techniques Principal Editor: Hamish Fyfe tween art-house and mainstream, and na-
Associate Editors:Huw Champion tional and transnational film production.
By Rosemary Sassoon & Stephanie Knight Maule examines how the individuals have
$30 | ISBN 9781841501956 | pb maintained a dialectical relationship with
ISSN: 17571936 | Vol 1 2009: 3 issues the authorial tradition of the national cinema
Pak Tong Cheuk’s Hong Kong New Wave Cinema (1978-2000) is
an extensive guide to one of Hong Kong’s most important film to which each belongs. The book studies the
movements. Cheuk, an Associate Professor in the Film and Television work, practices and styles of European film-
department at Hong Kong Baptist University, illuminates a movement makers including Luc Besson, Claire Denis
Drawing - The Purpose International Journal of beloved by film scholars, students and fans the world over. The New
and Alejandro Amenábar. Beyond Auteurism

Edited
ISSN: by Leo Duff & Phil Sawdon
17435234 Education Through Art Wave’s influences and style were integral in paving the way for the
offers an important contribution to a histori-
cized and contextualized view of film author-
Editor: Rachel Mason modern international sensations of Hong Kong cinema. Cheuk
$30 | ISBN 9781841502014 | pb ship from a theoretical framework that re-
presents a close up view of the movement, its context and its important
ISSN: 17435234 | Vol 1 2005: 3 issues jects Western-centred and essentialist views
figures and films. of cinematic practices and contexts.
Cheuk expertly analyzes the movement and discusses it with passion
and respect. He provides a scholarly audience with fully developed
theories about the arrival of the New Wave, with thorough social and
historical contexts to satisfy the casual reader. He also manages to
keep the weighty subject matter grounded through the use of familiar
Art, Community and Journal of Writing in films and figures in both Chinese and Hong Kong cinema. This use of
Australian Post-War
Environment: Educational Creative Practice historical context makes the reader feel an intimate understanding of
Editors: John Wood & Julia the evolution of the film Documentary Film
Perspectives industry in Hong Kong, and An Arc of Mirrors
Lockheart The author is clearly invested the lasting influence of New
Edited by Glen Coutts & ISSN: 17535190 | Vol 1 2008: 3 issues By Deane Williams
Timo Jokela in this topic and a follow-up Wave films. $60 / ISBN 9781841502106 / hb
His discussion of the
$50 | ISBN 9781841501895 | hb
book would be more than New Wave directors aims The post-war period in Australian cultural
welcome as there is plenty to shed light on the role history sparked critical debate over notions
left to discuss. of western film education of nation-building, multiculturalism and in-

-
‘Intellect has rapidly become the first port of call for art
educators seeking an outlet for original thinking in the
field. Its books and journals offer an excellent forum for
high quality debate and dissemination of ideas.’
Richard Hickman,
University of Cambridge / Intellect Author
intellect | www.intellectbooks.com | Book Orders: 1-800-621-2736 | Journal Orders: 1-860-350-0041
in shaping the future ternationalization. Australian Post-War Doc-
of Hong Kong cinema, umentary Film tackles these issues in a wide-
as well as how the New Wave added many new stylistic techniques ranging analysis of government, institutional
to the industry’s repertoire, which its directors refined during their and also radical documentaries. Williams cri-
work in television. Their mastery of cinematic language, coupled with tiques the key films of the era, including the
their uniquely local perspective, brought Hong Kong cinema into the seminal The Back of Beyond, often cited as the
international spotlight giving the New Wave directors an international greatest Australian film of all time. Austral-
stage. Cheuk writes with a simple elegance that involves and engages ian Post-War Documentary Film will appeal
to anyone interested in international cinema,
the reader. Hong Kong New Wave Cinema is great for any scholar, student,
or kung fu lover, because it provides a comprehensive timeline of the the way that it theorizes the period and offers
events that became the New Wave movement, and created its lasting a host of international comparisons, widen-
cinematic footprint. ing its ideas to the fabric of cultural produc-
Ian Touchstone-Griffin is an undergraduate student at the University of North tion that surrounds all art works.
Carolina, Wilmington, USA.
IQ 2009| 23
 intellect publishers of original thinking
Theater & Music
Books & Journals
Russia, Freaks and Foreigners: Performing Ethos
Three Performance Texts Principal Editor: Carole-Anne
Upton. Associate Editors: Mark
By James MacDonald
Taylor-Batty & Daniel Watt
$30 | ISBN 9781841501864 | pb ISSN: 17571979 | Vol 1 2009: 2 issues
Sex on Stage: Gender and Journal of Dance & Somatic
Sexuality
ISSN: 17435234 in Post-War British
Practices
Theatre Principal Editor: Sarah Whatley
Associate Editors: Kirsty Alexander
By Andrew Wyllie
& Natalie Garrett
$30 | ISBN 9781841502038 | hb
ISSN: 17571871 | Vol 1 2009: 2 issues
Bringing Down the House: The International Journal of
Crisis in Britain’s Regional Theatres Community Music
Editors: David Elliott & Lee Higgins
By Olivia Turnbull
Associate Editor: Kari Veblen
$40 | ISBN 9781841502083 | pb
ISSN: 17526299 | Vol 1 2008: 3 issues
-
‘Many ideas grow when transported into another mind
than in the one where they sprang up.’
Oliver Wendell Holmes
Share your ideas with us and watch them grow.
Go to: www.intellectbooks.com/publish.html
intellect | www.intellectbooks.com | Book Orders: 1-800-621-2736 | Journal Orders: 1-860-350-0041
Book Reviews
iQuote » “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” – Scott Adams
Declarations of Independence:
American Cinema and the Partiality of
Independent Production
By John Berra
$40 | ISBN 9781841501857 | pb
Reviewed by Christine Carr York
John Berra’s academic
discussion of American
independent cinema has the
best of intentions. Independent
cinema’s relationship with
mainstream films and the studio
system is complicated and
merits intense scrutiny. From the
beginning, Berra is optimistic,
but does not always seem able
to decide which aspect of study
deserves the most focus. He states
his objective is “to disprove the
popular assumption amongst
commercial journalists and
consumers of popular culture, that
cinematic works that have been
declared as, or critically assigned
the status of, ‘independent,’
are autonomous of corporate
sponsorship, or influence from
other forms of popular media,”
but has much more in store for
the reader (10). Berra would
also like to “redefine what can
be meant by the term ‘modern
American independent cinema’”
and to “establish whether creative
autonomy can actually exist within
the system of mass production”
(10-11). The author addresses
these objectives by examining how
specific independent films and
film-makers relate to the studio
system. In doing so the author sets
himself quite a tricky task as there
is so much to include in such a
short book.
Berra assumes his audience
knows little about Hollywood’s
system of mass production so
the bulk of his initial discussion
focuses on the studio system and
its relationship to and acceptance
of independent film. He raises
some interesting, fleeting
points, such as suggesting that
independent cinema has taken
the place of foreign film in
America. The fact that the studios’
stranglehold on marketing and
distribution prevents a true
independent cinema from ever
existing is discussed at great
length, however. Even in his
analyses, Hollywood encroaches
upon the discussion. While no
The author is clearly invested in this topic and
a follow-up book would be more than welcome
as there is plenty left to discuss.
study of American cinema can
ever completely avoid mentioning
the Hollywood machine, it has
been analyzed many times before,
overlooking independent films.
For once, Hollywood could take
a backseat to the independents,
but the book seems to keep it
very much the centre of attention.
Perhaps in its inclusion, the author
is commenting on its power and
omnipresence in the industry.
Berra also includes other theorists
and academics in his study. The
negative side of this technique is
that he admits in the introduction
that critical discussion of
independent cinema is severely
lacking. Therefore, his attempts
at finding other theorists’ views
to support his own are perhaps
not always helpful. However, he
very wisely includes references to
the cultural changes and societal
upheavals that allowed the most
important independent films
such as Easy Rider to have such
impact. Berra is at his best in these
instances and when discussing
specific directors and films. Rather
than simply working from the
exterior to the interior, as stated in
the introduction, the study actually
benefits from jumping into the
in-depth analyses that are its heart
and soul.
In his acknowledgements, Berra
welcomes any discussion that
arises from his book’s publication.
Since generating discussion is one
of independent cinema’s aims,
it feels particularly appropriate
and appreciated. The author is
clearly invested in this topic and
a follow-up book would be more
than welcome as there is plenty
left to discuss. A close study of
American independent cinema is
long overdue, and this painstaking
inquiry gets the ball rolling.
Christine Carr York is a recent graduate
of the Film Studies Department,
University of North Carolina
Wilmington.
8
Send us your letters
and feedback as we’d
love to hear from you.
iq@intellectbooks.com
IQ 2009 | 25
 North America University of Chicago Press
iQuote » “How much easier it is to be critical than to be correct.” –Benjamin Disraeli iQuote » “Concentration comes out of a combination of confidence and hunger.” – Arnold Palmer

Intellect in
North America
Since 2006, Intellect has been working with the University of Chicago
Press to make our books available in North America. But what does this mean
for Intellect’s authors? Well, your book will not only get the attention of our
own excellent marketing team in the UK, but also the professional services of
the marketing team at the University of Chicago Press. At the press, Intellect
books are treated in very much the same way as their own books. Our books
are included in their catalogues, advertised in relevant publications, sent out as
review and inspection copies, displayed and sold at conferences, and presented

University of Chicago Press Building

to bookstores by their dedicated sales force – all with the added benefit of their
expertise in the North American market. It also means that Intellect titles are
stocked at the University of Chicago Press’s distribution center – one of the
largest in North America, so it is easy for students, colleagues and bookstores
based in the US to get hold of Intellect books.
At Intellect, we work closely with the marketing team at the Press, sending
them any information which might be helpful for them to successfully promote
our titles, informing them of author events or visits in North America, and
presenting our new titles at their sales conference in Chicago twice a year.
This year, we are opening an editorial office in North America, so that we
can increase awareness of Intellect in the region, and encourage submissions
from North American authors – both to our books and journals programs. This
will not affect the way that we work with the Press, who will still be active in
marketing and distributing our books. If you are an Intellect author, this new
development means that Intellect will have a greater international presence,
which is good news for you and your book! If you are thinking about submitting
a proposal, please contact us: www.intellectbooks.com
University of Chicago Press
Since its founding in 1891 as one of the three
original divisions of the University of Chicago,
the Press has embraced as its mission the
obligation to disseminate scholarship of the
highest standard and to publish serious works
that promote education, foster public under-
standing, and enrich cultural life. Through
their books and journals programs, they seek
not only to advance scholarly conversation
within and across traditional disciplines but,
in keeping with the University of Chicago’s ex-
perimental tradition, to help define new areas
ABOVE: University of Chicago
Chicago of knowledge and intellectual endeavor. Press’s Catalogue featuring
Intellect’s titles.
Teresa Fagan
An interview with the University of Chicago Press’s Marketing Distribution Manager
What is your role at the University of Chicago Press?
I am responsible for coordinating the University of Chicago Press’s
Marketing Distribution program. The Press markets, promotes and
distributes books for over 40 publishers, both in the US and abroad.
What is the relationship between University of Chicago Press and
Intellect?
Intellect is one of our Marketing Distribution publishers.
In your opinion, what does Intellect bring to the academic book
market in North America? Intellect brings a new, edgier, European
perspective to issues of interest to the academy. Intellect’s publishing is an
invigorating blend of the theoretical with the practical, especially in the area
of art where they address not only scholars and critics but also artists and
their teachers.
How do you promote Intellect’s titles in North America?
We include Intellect’s titles in our bi-annual seasonal catalogs; we compile
a list of potential reviewers and send out review copies of new books; we
place Intellect’s books in adverts in print and electronic media; our sales
representatives call on retail outlets and promote Intellect’s books in person.
What do you consider to be the key current issues in academic
publishing?
The influence of electronic publishing and of the Internet in selling books.
I believe that for academic works e-books will be the wave of the future. As
electronic reading devices become more common and more refined and
people become more accustomed to reading texts electronically, the ability to
purchase and download academic texts quickly and relatively inexpensively
will no doubt become the norm. I also think web-based catalogs will become
even more important than they currently are in promoting and selling
academic texts.
What motivated you to get into publishing?
A love of books!
Tell us about the last book you read.
I’ve just finished the novel by the Nobel laureate Jean-Marie Le Clézio,
Le Chercheur d’or, a beautiful, almost mystical coming-of-age tale. I love
Le Clézio’s work because his books create sensual, spiritual, completely
engaging other worlds. And the Chercheur exudes an almost Proustian
sensitivity as the young protagonist’s adventures are told. It is wonderful to
lose yourself in such a work. And I am proud to have been the translator of
Le Clézio’s Le Rêve Mexicain - The Mexican Dream - published by The University
of Chicago Press in 1993. It is truly a unique and wonderful book.

26 | Thinking in Color IQ 2009 | 27

Conferences
iQuote » “One cannot review a bad book without showing off.” – W. H. Auden
Conferences 2008
LAST year saw Intellect set up stand
at many interesting and varied academic
conferences across our subject areas of film
studies, media and culture, art and design and
theater and music. This included several high
profile US conferences.
In March we attended the Society for Cin-
ema and Media Studies (SCMS) conference
in Philadelphia. This long-standing event is
probably the most well attended international
28 | Thinking in Color
iQuote » “If I have lost confidence in myself, I have the universe against me.” – Ralph Waldo Emerson
conference in the area of film studies. SCMS
2008 was hosted by the Loews Hotel in the
Millennium Hall, Philadelphia and we set up
stand (pictured overleaf ) alongside our US
distributor, the University of Chicago Press.
Our journal Film International attracted lots
of attention at the conference, as did one of
our key film titles of the year, Declarations of
Independence: American Cinema and the Partiality
of Independent Production by John Berra.
Above The Montréal Skyline
Conferences
A couple of months later,
Intellect also headed to the 58th
International Communication
Association (ICA) conference,
held in Montréal, Canada over
22-26th May. The conference
was one of the major events of
the media studies calendar, with
over 2000 international attendees.
This event was based around the
theme of ‘communicating for
social impact’, and proved a great
opportunity for Intellect to exhibit
our ever-growing list of media and
culture books and journals. We
also met with several authors and
editors at the event. See pictured
(below right) the very distinctive
Intellect booth in the exhibit hall
at the conference centre, Le Centre
Sheraton – look out for our stand
at future events.
Throughout 2008 we were
also present at several European
conferences, and many in the UK,
for example Screen conference at
the University of Glasgow and the
MECCSA Postgraduate confer-
Intellect’s stand at SCMS conference
ence at the University of Sussex in
Brighton. Academic conferences
provide us with a wonderful op-
portunity to meet and converse
with our authors and editors and
to exchange ideas and informa-
tion. Much time and effort is
spent, very productively, with the
written word and the computer
screen and it would be easy to
forget the human interaction and
ideas that go into every one of our
publications. Attending confer-
ences allows us to meet face-to-
face with our community.
Our mission is to be a publisher
of original thinking: accepting
proposals and commissioning
based on the merit of ideas rather
than sales. We campaign for the
author rather than producing a
book or journal to fill a gap in
the market, and aim to provide a
vital space for widening critical
debate in emerging subject areas,
supporting authors and editors by
bringing their ideas to as wide a
readership as possible.
So, conference attendance
is a fantastic way of promoting
and exhibiting the work of our
authors and editors to its target
audience and also to encourage
new submissions – in the form of
journal articles, book proposals
and new journal ideas. We take
new author and editor packs along
to every conference, bursting with
information about Intellect – a
copy of IQ magazine, business
cards and a questionnaire in which
we ask prospective authors and
editors to propose their ideas. We
are also regularly complimented
on our cover designs, publicity
material such as postcards and
pens at conferences, and above
all the originality and innovation
of ideas and subjects throughout
our publications (sometimes by
competing publishers!).
In 2008 we attended a signifi-
cant number of both national and
international conferences. We
have also concentrated on having
a presence at smaller conferences
(left to right) May Yao, Associate Publisher and
Sam King, Book Publishing Manager.
and events by sending inserts for
delegate packs, display materi-
als and advertising in conference
programs. For us, it’s essential to
maintain this level of attendance
and publicity at conferences. In
2009, we plan to attend many
more. Our Associate Publisher,
May Yao, will be the primary at-
tendee of US/Canadian confer-
ences in 2009, as she will now be
based in North America. Come
and say hello at the Intellect stand!
Just a few of the upcoming 2009
conferences we plan to attend are:
• College Art Association 97th
Annual Conference held
in Los Angeles 25th – 28th
February 2009
• ICA, Chicago, 21st – 25th
May 2009
• SCMS (held in Tokyo in 2009,
but SCMS is a US association)
21st – 24th May 2009
IQ 2009 | 29
Art & Design
iQuote » ‘To be conscious that you are ignorant is a great step to knowledge.” –Benjamin Disraeli
intellect
books &Journals
education
culture

inspiration
art&design
theatre
&

Holopoetry Explained
Holopoetry investigates the
nature of language and its relation-
ship to visuality, issues relevant both
to literature and art. Holopoems are
holograms that address language as
in the constitution of our experien-
tial world. To question the structure
of language is to investigate how
realities are constructed. My holo-
grams define a linguistic experience
media
film
By Eduardo Kac
flects my desire to create experimen-
tal texts that move language, and Further Reading
more specifically, written language,
beyond the linearity and rigidity that Media Poetry
characterize its printed form. I never

material and subject matter. I create
visual texts which can only sig-
nify upon the active perceptual and
cognitive engagement on the part of
the reader or viewer. This ultimately
that takes place outside syntax and
conceptualize instability as a key
signifying agent. I use digital holog-
raphy to blur the frontier between
words and images and to create
adapt existing texts to holography.
I try to investigate the possibility of
creating works that emerge from a
genuine holographic syntax. Media
Poetry is an international anthology
performance
By Eduardo Kac
$35 ISBN 9781841500300
‘Kac’s anthology displays a range
of approaches toward literacy
dynamism in Europe and the

means that each reader “writes” his
or her own texts as he or she looks
at the piece. My holopoems don’t
rest quietly on the surface. When the
viewer starts to look for words and
their links, the texts will transform
themselves, move in three-dimen-
sional space, change in color and
meaning, coalesce and disappear.
This viewer-activated choreography
is as much a part of the signifying
process as the transforming verbal
and visual elements themselves.
Language plays a fundamental role
an animated syntax that stretches
words beyond their meaning in or-
dinary discourse. I employ computer
animation techniques to create a
new kind of visual-poetic composi-
tion, which undermines fixed states
(i.e., words charged visually or
images enriched verbally) and which
could be defined as a constant oscil-
lation between them. Holopoems
are both an investigation of the
processes of language and of holo-
graphic meaning. The use of digital
holography as a writing medium re-
imagination
Americas across four decades.’
of radically new poetry which takes
- Chris Funkhouser, Electronic
language beyond the confines of the
printed page into a non-linear world
Book Review
publishers of original thinking
of digital interactivity and hyperlink-
age. { www.intellectbooks.com
Eduardo Kac is Professor of Art and
Technology Studies at the School of Art
Institute of Chicago.
Image above: “HOLO/OLHO”
(HOLO/EYE), 25X30cm, Reflective
Holograms mounted on wood and
Order from:
plexiglass, 1983. Collection UEC-
www.intellectbooks.com
LAA, University of Essex, UK.

IQ Spring 2009 | 30
intellect
publishers of original thinking