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thinking in colour / 2008

Art & Design

Art, Community
and Environment

Music & Performance Media & Culture Plus

New Musical An Editor’s Q&A’s, Book
Reviews &
Theatre Journey more...

BOOK Visit Intellect’s blog for all our

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comments, news and feedback Publisher
for us on the blog too. 06 An Editor’s Journey Masoud Yazdani
Associate Publisher
May Yao

Challenges and rewards of editing a journal Editor

Melanie Harrison
Holly Rose

09 Art, Community & Environment Intellect Ltd.

The Mill, Parnall Rd,
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Interaction between art, practice and community

Tel: 0117 9589910

12 Unsung Heroes
IQ / Thinking in Colour
ISSN 1478-7350

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16 Peter Thomson without permission of the

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18 Soundtrack Interview articles or advertisements.

Intellect publishes books

Journal editors answer Piers Plowrights questions

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

22 Image Critique
and journals that have presence,
create impact and are affordable
for readers. We commission
regardless of whether there
Subscribe to Intellect’s in-house magazine, IQ, for free. And the fall of the Berlin wall is an established readership
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To receive a free copy of every forthcoming issue of IQ, please
28 Issues in Curating
articulating their thoughts and
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send us an e-mail with your details including name and a readership as possible. We
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Q&A » 04 Ravi Butalia | 27 BFI Filmstore | Reviews » 28-31 Book Reviews | needed in cooperation with us. IQ 2008 | 3
Q&A Ravi Butalia
iQuote » “Books open your mind, broaden your mind, and strengthen you as nothing else can.” – William Feather iQuote » “Wise men speak because they have something to say; Fools because they have to say something.”– Plato

intellect People Focus

and how we can make it flourish, comes in. The Berlin Wall type with us it is like planting a seed in editors are shocked as to how many What are the most challenging/
not the money. It is an organic
process. If the principle is in place,
of business plan, which remains
fixed, eventually succumbs to
the soil. There is a lot of nurturing
involved on both sides. Essentially,
practical and financial factors need
to be carefully considered before a
rewarding aspect of your role
and of journals publishing?
Proposing a
the details will automatically fall
into place. That is not to say that
fluctuations in the economy
whereas supple models that
a successful proposal needs to
answer the questions: what, why,
proposal is approved.
Once a proposal is formalized,
As the company grows and new journal
produces more journals, it is
we don’t care about the market; change and adapt fast to life and who, when, where and how. we invite the editor/s to meet with challenging maintaining a rhythm,
we do, but not at any price! After circumstances have a greater Once these six questions can be
“There is nothing more
us before the contract is signed. consistency and a schedule for 150
all, what good is a journal if it does chance of enduring and being answered satisfactorily, we invest Such meetings, as far as we are odd journal issues a year. On the
powerful than an idea
not have an audience? There are successful. I might add that even value by aligning the proposal to concerned, are the cornerstone of other hand, it is wonderful meeting whose time has come.”
many other differences but the one this model cannot last long unless our infrastructure. A successful the journals process. This is where with prospective editors, listening – Victor Hugo
major distinction is the high level it adheres to deeply embedded journal proposal thus becomes so the journal really gets established. to their ideas and nurturing a new Intellect is seeking editors to
of service we provide. We listen principles. As long as there are much more than just an idea - it It is all about relationship building. journal to fruition. No matter how start new journals. We commis-
carefully to editors’ dreams, wishes scholars and there is a need for almost becomes a living organism many times you do it, each meeting sion journals that strengthen
our existing portfolio in the
and expectations, even if we intellectual stimulation, there that has a life, movement, direction Once established, what makes with a new editor is a fulfilling arts and humanities. We look
cannot fulfil them all, enabling us will be a need for journals and and destiny of its own. a successful journal? experience. Instead of just being for editors with exceptional
to tailor our service to their needs publishers. So, the reason why we Rather than talk about the formal colleagues who email leadership qualities. The most
gradually. I’ve often been told that launch more and more journals is Tell us more about the process obvious factors such as subject occasionally, we become good successful editors are those
who encourage and inspire
we are more laid back, friendly, simply because of the strength and involved in starting a new matter and marketing, I’d like friends. their community to submit

Ravi Butalia
accessible, and welcoming than flexibility of our business model. It journal? to focus on the human side of articles, conduct peer review
most other publishers. also has a lot to do with the great When a new proposal is received, what makes a journal successful. What are the challenges facing and help in the day-to-day
intellectual yearning out there, my journal colleagues and I study A brilliant academic does not journal editors in the future? development of the journal.
Committed, passionate editors
How do you manage to publish hunger almost, for ideas to take it individually. We make notes, necessarily mean that the person Perhaps one of the most pressing who dedicate time and thought
Q & A with Intellect’s Journals Manager so many new journals when root and be nourished. stating what we like, what we don’t, has the makings of a successful challenges for Intellect editors is produce the best journals.
other publishers are shying what the possibilities are and so on. journal editor. Communication, the need to start thinking of ways We offer editors a full training
away from new launches? What makes a successful Next, we get together and decide coordination, planning and to take their respective journals in journal publishing. This
What kind of journals does How is Intellect similar/ It is understandable that other journal proposal? quite rapidly whether a journal is organization make all the to the next level, which is on the includes guidelines for the
set-up, launch and mainte-
Intellect publish? different to other publishers? publishers are not launching Synergy, simply put! It is the worth going ahead with or not. If difference. We regard teamwork Internet. We are working hard to nance of the publication. In
On the face of it, we publish Intellect is similar to other new journals. Much of this kind of chemistry that can we see possibilities, we get back to to be one of the most essential introduce a content management addition to a journal’s network-
academic journals in the arts and publishers in that we cater to the has to do with the state of the be established between the the prospective editor and raise lots skills for an editor. One cannot system whereby all submissions ing possibilities, we emphasise
humanities. But it is more than academic market. Apart from that economy. However, recessions prospective editor and Intellect. of questions, some of which can be have a successful journal without and editorial management will the need for teamwork be-
tween Intellect and our editors.
that. I like to think our journals we are completely different in our come and go, economies rise The originality of the idea behind very challenging. It usually takes inspired teamwork - it is just not be done online. This will happen Publishing a journal is an act of
are about creating and sharing philosophy. Intellect is a drop in and fall, almost like the seasons. the journal proposal is, no doubt, 2 to 5 drafts before we approve a possible! A successful journal can soon, most probably by 1st January collaboration, negotiation and
the gift of knowledge. They the ocean compared to most other There has to be an overarching very important. However, it does proposal. only be as successful as the team 2009, at the same time as our Web discussion. We encourage
are about knowledge transfer journal publishers. Small boats element that transcends economic not automatically guarantee Some journals develop swiftly, that manages it. A good editor is, 2.0 site. The introduction of new editors to take an interest in
the entire process, including
and economy, publications can manoeuvre faster in the water barriers if journal publishing is a successful journal. It is only sometimes in a matter of weeks. in fact, a good leader, one who not tools and methods of working production, marketing, sales
that contribute towards the and are more agile than ships. We Other journals may take months, only has academic vision but also reflects the heightened need to and distribution.
development of humanity and the
progress of civilization. As we
embrace change readily and are
not afraid of taking risks. There
As we grow and mature as a company, even years to come about. In
essence, there are two factors to
the skills, abilities and attributes
to encourage and inspire the
change with the times. In fact, we
don’t see how a journal can keep
Launching successful journals
is an exciting challenge. The
grow and mature as a company, is an Andrew Heiskell (American we are realizing that the privilege of consider. The first has to do with wider community that benefits progressing purely on the basis of long-term sustainability of your
ideas must be planned carefully
we realize that the privilege of publisher and philanthropist)
publishing cutting-edge academic quote which pretty much sums publishing cutting-edge academic the subject area, how new or old
it is. An emerging discipline may
from a journal. Starting from the
editorial team, then the boards,
the model we have managed thus
far. A new vision is needed and for
in order to make an exceptional
contribution to academia.
research goes hand in hand with up what we do. He says, “A research goes hand in hand with deep- take considerably longer to develop subscribers and the wider academic that a new framework is essential.
deep-rooted social responsibility. publication depends on a great whereas an established one is community, a truly successful That is why I am making a point of Please visit this link:
For instance, scholars in 54 idea, not there being a market out rooted social responsibility. fairly straightforward to deal with. editor can enthuse and harness the meeting with all Intellect editors
developing countries have free there. You start with an idea rather The other factor has to do with potential of this group, maybe even over the next few months to share publishwithus.php
online access to all our journals. than trying to get an idea which to be successful. There has to be the starting point. Thereafter, a aligning the aims and scope of the change its direction. As Mother lots of exciting developments from to download a journal editor
We are also committed to green goes with that market.” Most something that is more enduring symbiotic working relationship journal with practical reality. The Theresa stated, “You can do what the business plan that we have questionnaire.
publishing – all our journals and publishers begin with the market than the exchange rate. That needs to be established, one that two must match; otherwise it is I cannot do. I can do what you just concluded for the coming
books are printed on FSC (Forest in mind, circulation figures etc. is where the philosophy of the can resonate in the world at large. like trying to sow a healthy seed cannot do. Together we can do academic year. {
Stewardship Council) paper. The pith of the matter is the idea company and its business plan When an editor shares an idea in the desert. Some prospective great things.”

4 | Thinking in Colour IQ 2008 | 5

Film Studies Film Studies
iQuote » “Really great people make you feel that you, too, can become great.” – Mark Twain iQuote » “The only thing that will stop you from fulfilling your dreams is you.”–Tom Bradley

intellect Journal Focus

embrace the reception of non- it as such—the editorial fore: my respect for the complex Further Reading
Australasian films in the region. board, contributors, referees, art of writing has deepened.
My initial ideas, then, settled guest editors, colleagues and Again, this is a team effort, with
into three aims for the journal administrators within my dialogue between contributors, Studies in
in its first couple of years, a kind institution, and the production referees, myself and copyeditors Australasian Cinema
of ‘start-up’ motor: SAC would team at Intellect—certainly at Intellect. I do put more time Edited by Ian
stress the diversity of Indigenous becomes any journal’s (and than I originally expected into Henderson
cultures across a broad region the editor’s) greatest resource: trying to get the best out of other Subscription: 3 Issues
and their impact on cinema; allowing proper input lightens people’s writing, for the readers £33 personal / £210
invite debate about reception my load in the end, as well as of SAC but also to enable writers Institutional
as well as film production opening the journal to a broad to extract their sharpest ideas. ISSN: 1750-3175
in the region; and critically range of new ideas. I suspect I The effort has certainly proved
embrace representations of the won’t ever stop learning new worthwhile, not least for the
region from those who do not and better ways to enable the insights it affords into my own
live there. These goals helped SAC team; that might well be an writing, a torturous process of
decide the kinds of expertise I editor’s fundamental function redrafting if ever there was one.
needed from an editorial board. and reward. And I have also Everything considered, the main
Academic research can learned not to limit what the challenges of being an editor
Ian Henderson sometimes feel overly insular; journal can publish and achieve are outwardly-directed team
being an editor of a journal to the ‘traditional’ look or building and inwardly-directed

An Editor’s Journey
demanded that I come out of my role of an academic series. intense work with (other
intellectual shell in ways other The ‘editing’ proper of the people’s) texts: both tasks were
Australian, New Zealand and
than I do when teaching, and journal is also more intellectually somewhat new to me when I
Pacific regions are home to
that has been both challenging rewarding than I expected. began at Studies in Australasian
many indigenous nations and
and rewarding. I had a ‘thing’ There is immense satisfaction Cinema and both remain rich
immigrant cultures from all
about asking other people to in working closely to shape sites for further learning. {
around the world, producing a
do things for me, partly from words and let ideas come to the
Ian Henderson, editor of Studies in Australasian Cinema, outrageous control-freakery
rich cinematic arena. Stud-
ies in Australasian Cinema is
considers the challenges and rewards of establishing a journal (editing forces you out of that),
partly from sensitivity to how
a journal devoted to refereed
scholarly discussion of cinema
many tasks other academics
from these diverse regions.
When Intellect first a market for such a journal, an international audience. and histories in the region, and already have on their plate.
The journal emphasizes this
approached me to become as Australian film has become I decided that the journal the different ways in which film However I was amazed how
variety with a special inter-
an editor of a new journal increasingly prominent in recent should also be a forum for industries have developed there. enthusiastic people I approached
est in postcolonial politics and
focused on Australian film I years, with the establishment discussions of New Zealand Still, while turning the proposed to be on the editorial board
contexts. Articles pay equal
was really startled. Firstly to of international studios in the films and films from or about journal into Studies in Australasian became about the journal. I
heed to independent or ‘local’
discover a publisher taking country and the exchange of the Pacific. There is something Cinema, I hoped we could stress soon learned not to hesitate
films as they do to discussions
this kind of initiative with workforce between Hollywood arbitrary about bracketing this diversity. I also wanted to to approach even the most
of global commercial films
regard to an Australian topic: and Australia. But more to together Australian and invite critical discussion about prominent scholars in the
produced or screened in the
even in Australia publishers the point, films by and about other films from the region, anthropology and film, and the field. Even so I think from the
region. Independent cinema’s
can take some persuading on Australia’s Indigenous peoples something that can irritate some representation in feature films beginning I underestimated
challenge to mainstream
this front. So we got off to an had really begun to challenge people, and understandably of the peoples and spaces of how much of a team-effort a
views run alongside recogni-
excellent start; the intellectual traditional forms of Western so. While these countries share Australia, New Zealand and the journal is: that’s its strength,
tion of the complexity and
value of such a venture already cinematic storytelling. I felt histories of British colonialism, Pacific, often directed, written but also something that takes
cultural potency of commercial
understood. I then began there was an important role for their cultures are quite distinct, and even starring people who considerable time and energy to © Michael Edols, ACS.
popular film in Australasia.
to feel daunted by the task the journal in bringing critical not least because of the extreme were not from there. Studies in manage and make the most of.
ahead. I was certain there was approaches to these films to diversity of Indigenous cultures Australasian Cinema would also Having a team, and recognizing Above. Sam Woolagoodja. Photo courtesy of Michael Edols, ACS.

6 | Thinking in Colour IQ 2008 | 7

intellect publishers of original thinking
Media & Culture
Film Studies iQuote » “Man is a child of his environment.” – Shinichi Suzuki

Books & journals intellect Book Focus

Alternative Worlds in Journal of Chinese Cinemas

What is it good andfor? Environment:
Hollywood Cinema
By James Walters
£14.95 / ISBN 9781841502021
Editor: Hong Hwee Lim
ISSN 17508061
3 issues per year
Educational Perspectives
Q & A with Nikki Cooper, Martin Hurcombe and Debra Kelly
224pp/July 2008
Glen Coutts and Timo Jokela
Queer Cinema Studies in Australasian Cinema Picture a warm, sunny after- that we share many interests, but Strathclyde, Glasgow. The Univer- for an edited book first emerged.
in Europe Editor: Ian Henderson noon in a café in Poznan, Poland. the most striking being a passion sity of Lapland has an international We were convinced that the action
ISSN 17503175 It was June 2000; two academics for environmental and community reputation for environmental and research and the arts projects being
Edited by Robin Griffiths
3 issues per year met for the first time to share a cof- art, education and the promotion community art and the University carried out deserved a wider audi-
£19.95 / ISBN 9781841500799
fee and discuss the art education of active participation in the arts. of Strathclyde offers the unique ence. We also knew of many other
160pp / May 2008
conference they were attending. The result was a lasting friendship four-year undergraduate degree in artists, writers and academics
This meeting would eventually lead and strong collaborations between community arts. with something worthwhile to say.
to the book Art, Community and Envi- our respective universities. Timo Shortly after the conference As we worked together with our
ronment: Educational Perspectives. The Jokela works in the Art Educa- in Poland we signed an exchange students and community partners,
conference was organized by the tion department, in the Faculty of agreement. To date, many students we considered the processes and
University of Warsaw through the Art and Design at the University and staff have benefited from strategies used. What is unique

Art & Design

International Society for Education of Lapland in Finland and Glen learning and teaching, for a short about this work? How do we know
through Art (InSEA). Coutts works in the Department of time in the other institution when arts interventions, especially
In the course of that chance Sport, Culture and the Arts, Faculty and country. It was during these temporary ones, are effective? How
meeting over coffee we discovered of education at the University of periods of exchange that the idea should they be recorded and dis   

Books and Journals

Writing on Drawing: Essays on Art, Design and Communication
Drawing Practice and Research in Higher Education
Edited by Steve Garner Editors: Linda Drew &
Laura Lanceley
£24.95 / ISBN 9781841502007
224pp/October 2008 2008 ISSN 1474273X
3 issues per year

Art, Community and Environment:

Journal of Visual Arts Practice
Educational Perspectives
Editor: Chris Smith
Edited by Glen Coutts & Timo Jokela
ISSN 14702029
£24.95 / ISBN 9781841501895 3 issues per year
224pp/September 2008

Above Pallas- Fathers’ sign. Timo Jokela. 2005.

Photograph by Timo Jokela.
intellect publishers of original thinking
The Mill, Parnall Road, Bristol BS16 3JG 0117 9589910 IQ 2008 | 9
Art & Design Art & Design
iQuote » “The earth laughs in flowers.” – E. E. Cummings iQuote » “Joy in looking and comprehending is nature’s most beautiful gift.” – Albert Einstein

seminated? Such questions Further Reading
were the focus of many of our
discussions and we needed to find Art, Community and Environment: Educational
a way of sharing the variety of per- Perspectives
spectives we knew to exist on this Edited by Glen Coutts and
area of arts and education practice. Timo Jokela
An unexpected opportunity arose
Part of the Readings in Art
through the National Society
and Design Education series
for Education in Art and Design
£24.95 / $60
(NSEAD), the leading UK authority
ISBN 9781841501895
in art and design education.
Published September 2008
The Readings in Art and Design
Education series, published by Art, Community and Environment
Intellect and supported by NSEAD, investigates wide-ranging issues raised by the interaction between art
presented an opportunity to com- practice, community participation and the environment, both natural
pile an anthology with a focus on and urban. This volume brings together a distinguished group of
art education that happens outside contributors from the United Kingdom, Australia and Finland to
the formal sector of schools and examine topics such as urban art, community participation, local
colleges. Many editions in the empowerment and the problems of ownership. Featuring rich il-
Readings series consist of papers lustrations and informative case studies from around the world, Art,
previously published in the Inter- Above Elderly people create Above Teams at work - Community and Environment addresses the growing interest in this
national Journal of Art and Design snow sculptures in the mapping responses to fascinating dimension of art and education, forming a vital addition
schoolyard. Photograph by the site. Photograph by
Education, but this collection is Peter Boyle. to Intellect’s Readings in Art and Design Education series.
Maria Huhmarniemi.
different. Only five of the sixteen
chapters have previously appeared
in the journal. It is also the first have managed to escape the levels based art educators learn from with his identity as a Laplander, changing role of the artist in the chapter in this section, describes to provide graduates with the and planners; they argue that the
book in the series to be richly il- of prescription bemoaned by art people working with community and with the wilderness of Finnish light of recent political shifts in a collaborative project called range of skills necessary to work in project’s ‘workshop’ approach can
lustrated in full colour. educators in schools. Because groups outside the school curricu- Lapland. McWilliam outlines an Scotland on community and cul- ‘Window Sills’, which explores the community arts. Coutts examines be seen as ‘laboratories of urban
The book contains sixteen many of the projects discussed in lum and vice versa? These are just ongoing project with outdoor edu- tural policy. Huhmarniemi takes notion of ‘territories’ and the in- the relationship between ‘public’ literacy and empowerment for
chapters that explore the complex this book are community driven, some of the questions addressed cation and community art students us on a very different journey. terface of public and private space and ‘community’ art in Glasgow, young people’. In the final chapter,
relationship between art practice, happening outside of school, by contributors to this edition. at the University of Strathclyde, us- Teachers and students in Finland within a specific community. asking where there might be Coutts reflects on a project that
community participation and the college or university walls, they oc- Readers reflecting on their own ing a vignette of the students’ own are engaged in various community The third and largest sec- points of overlap, distinction or used multimedia techniques to
environment, built or natural. cupy an educational ‘twilight zone’ experiences will no doubt think of reflective writing to describe how art projects in towns and villages tion contains nine chapters. In tension. He questions the purpose encourage Glasgow’s students to
The theme of this volume is the free of attainment targets, league many more. they are challenged to consider the all over the country, but are often both her own chapters, Adams of community art and asks how consider the role and function of
broad educational potential of tables, national tests and other The book is divided into three relationship between art, environ- unable to meet face to face for examines the potential educa- we should gauge its effectiveness. public art and urban design.
environmental and community such constraints. sections, with the general themes ment and aesthetics. Miles shifts debate or tutorial support. This tional benefits of study in, and Jokela offers a similar account The chapters in this book range
art, explored from the personal We have chosen to take a broad of ‘Environments’, ‘Communi- the focus from wilderness and chapter describes how virtual through, the built environment. of a programme for trainee art from descriptions of specific proj-
perspectives of authors from the view of art and design education, ties’ and ‘Education’, which the rural to urban environments, argu- learning environments might Her collaboration with Chisholm teachers in Lapland, arguing that ects to polemics on the purposes
UK, Finland and Australia. To fully embracing the informal sectors contributors explore from their ing that education has a responsi- lead to the creation of effective describes a small-scale project a ‘project-based’ approach has and efficacy of public and commu-
explore these emergent dimen- of society and the tricky and often personal perspectives as artists, bility to investigate the problems of educational communities. Another where student teachers focus on much to commend it. McKenzie nity art. We hope that the personal
sions in art education would elusive concept of community academics or authors. Inevitably, urban sustainability and changing Finnish author, Hiltunen, argues the built environment as a formal takes a fascinating look at whether and theoretical perspectives of the
require at least two volumes, one art. What is going on in differ- however, there are many points notions of ‘the city’. that community art enlivens and educational resource. By contrast, public sculpture might have played artists, writers and academics who
on the environment and the other ent countries and in the different that transcend the boundaries. The next section, Communities, energizes through the notion of Austin succinctly outlines a unique a didactic role in the nineteenth- have contributed will play a fruitful
on community. The formal sector sectors of education there? When In Environments, three authors contains four chapters with the ‘agency’. She describes the inclu- undergraduate programme for century Glaswegian education sys- part in the debate about the educa-
of education in art and design, in does art practice cross the line into focus on arts practice and its impli- recurrent themes of participation, sive approach of some remarkable community artists training to tem; while from Australia, Hooper tional potential of environmental
the UK at any rate, has been subject pedagogy? What do artists and art cations for education. Jokela offers ownership and empowerment. projects, in which representatives work in the informal sector. She and Boyle outline a project entitled and community art. {
to constant review and reform, but educators mean when they talk an account of his background as an Using examples of local projects of every sector of even the most considers the essential ingredients ‘Living City’. Inviting young
informal contexts such as com- about ‘ownership’, ‘empowerment’ artist and art educator, explaining directly involving community isolated village were encouraged of a degree programme, asking people to work on urban design
munity centres and local projects or ‘agency’? What can school- how his art is inextricably linked participants, Dawes considers the to participate. Bennett, in the final what areas need to be addressed projects with artists, designers

10 | Thinking in Colour IQ 2008 | 11

Music & Theatre Music & Theatre
iQuote » “Man cannot discover new oceans unless he has the courage to lose sight of the shore.” – Andre Gide iQuote » “Sometimes questions are more important than answers.” – Nancy Willard

intellect Journal Focus

Unsung Heroes: “Innovative musical theatre as show-

cased by SharpWire in Battersea Arts

New Musical
Centre’s Scratch series. SharpWire’s
most recent work has been seen as
part of the Tête à Tête festival at the

Theatre & the

Riverside Studios, London.”

Creative Industries
Dominic Symonds and George Burrows,
University of Portsmouth
The news that London’s Sport, “have their origin in indi-
West End experienced its best year vidual creativity, skill and talent
at the box office has been her- and which have a potential for
alded as a sign of hope in the face wealth and job creation through (NBC 2007), and a Canadian current West End musical scene dustries’ should support. I’d Do and have done for many years
of the economic downturn. The the generation and exploitation version of How Do You Solve a are either revivals themselves Anything might offer unparal- now (The National, The Royal
Society of London Theatre (SOLT) of intellectual property”. On the Problem Like Maria? (CBC 2008), (Carousel, Gigi, West Side Story), leled broadcast time to promot- Court, The Soho Theatre), pre-
reported 2007 attendances to be other hand, whilst the type of offer unknown performers spin-offs from the film, TV or ing the latest incarnation of cious little work is generated
13.6 million, a 10 per cent rise musical theatre that registers the chance to find fame and music industries (Hairspray, Oliver! in the West End, but do that can be called ‘musical the-
from 2006. Gross receipts rose 18 in the SOLT statistics certainly fortune as stars of this glitter- Eurobeat, or Never Forget - the shows like Oliver!, Grease or The atre’. The Royal Opera House
per cent from 2006 to a total of hits the ‘wealth’, ‘job creation’ ing economy: and the appetite ‘Take That’ Musical), or such Sound of Music need introduc- is the closest thing we have to
around £470 million. This is big and – arguably – ‘exploitation’ of both audiences and contes- long-running shows that they ing to the theatre-going public a subsidised platform for new
business, and it is in no small part buttons, and no doubt profits tants for this type of entertain- have become institutions them- in the way that unfamiliar and musical theatre.
a reflection of London’s buoyant from significant skill and talent, ment seems insatiable. Not that selves (Les Misérables, Phantom innovative new musical theatre Before being brought to
musical theatre scene. its claim to ‘creativity’ might be this is anything new either: it of the Opera) – as much a part of needs promotion? task we should recognise
Of course, this is not really called into question. Still, this is replicates the age-old theme of the tourist itinerary of London Of course, the commercial some of the exciting projects
big news: this is the third year in exactly the dilemma that is central many a Hollywood movie musi- as Madame Tussauds or Covent theatre is competing against that are pro-actively encour-
a row that SOLT have announced to the creative industries, where cal or Broadway show, from Garden. the subsidised sector, and this aged by mainstream though
‘unparallelled growth’ in West – as one report puts it – ‘market Babes in Arms (1937) to A Chorus The SOLT statistics raised in itself has created significant small-scale (and sometimes
End theatre-going, and a decade value’ insistently trumps ‘art-for- Line (1975), where a rags-to- interesting questions about controversy. Until recently this subsidised) theatres: Battersea
ago the publication of the Wynd- art’s sake’. riches storyline convinced us whether musical theatre re- involved the simple distinction Arts Centre’s regular Scratch
ham Report revealed that West The success of the recent that – in the words of John Lahr ceives privileged treatment in between commercial and sub- productions; the Greenwich
End shows ‘consistently outper- outpouring of musical theatre hits – ‘the commonest citizen could relation to ‘straight’ West End sidised venues – the National Theatre’s Musical Futures; the
form’ Hollywood blockbusters. has been attributed to their high rise by pluck, luck and talent theatre – on this subject Kevin Theatre, the Almeida, the Don- Tête à Tête festival at Riverside
The Phantom of the Opera, we were profile marketing through televi- into the aristocracy of success’. Spacey of the Old Vic has been mar, the Young Vic, etc. – none Studios; new venues such as the
told, had outgrossed the movie sion reality shows such as How That all of this points to a particularly vocal; but perhaps of which are major musical the- Menier Chocolate Factory and
Titanic. Do You Solve a Problem Like Maria? thriving industry is unquestion- we can frame this question atre venues (notwithstanding the Trafalgar Studios; provin-
Musical theatre, then, for all (BBC1 2006), Any Dream Will able, but the issue of ‘creativity’ slightly differently, and focus the Donmar’s excellent support cial venues such as the Water-
of its frothy charm and carefree Do (BBC1 2007), I’d Do Anything is still something that keeps on the resources that are fed of new-ish (1998) work such as mill in Newbury (much of John
whimsy, is the star pupil of the (BBC1 2008) and Grease is the Word cropping up: these shows, after into supporting new work for Jason Robert Brown’s Parade). Doyle’s work) and the Theatre
creative industries: industries (ITV1 2007). These shows and all, are all revivals of tried and the musical stage – work that, Where several high profile Royal, Plymouth (Buddy when
which, according to the Depart- international equivalents, such tested commercial products. we might argue, shows the real venues and institutions support it really was new work, and this
ment for Culture, Media and as Grease: You’re the One that I Want Other staple elements of the creativity that the ‘creative in- new playwriting admirably season’s ‘ghetto’ musical  

12 | Thinking in Colour IQ 2008 | 13

Music & Theatre
iQuote » “The World is a book, and those who do not travel read only a page.” – Saint Augustine

Imagine This); supportive com- lyricist/librettist; director/chore- commercial theatres in the West under-resourced’. The industry
munity frameworks such as
Mercury Musical Developments,
ographer/musical director), will
amount to well in excess of what
End up to date’. Olly, Jo and
Maria will fare very well from
is safe, then, and looks set to be
continually reborn: in its own
intellect journals
set up to nurture new musical it costs to stage a play. Some a new lick of paint, but under- image.
theatre writing; and the Edin- reports claim that the West End neath the arches the new work But that troublesome spectre
burgh Fringe, which this year minimum price tag is £3 mil- will struggle on with unpaid per- of ‘creativity’ still keeps disturb-

Free Online Access to

opened its new venue dedicated lion, so there is no surprise that formers playing profit-share to a ing the water, and meanwhile
to musicals, Musical Theatre @ producers need to safeguard handful of mates. we are left scratching our heads
George Square – actually four their investment with a tried and But if the West End is gen- about whether ‘creative indus-
different spaces showcasing tested product (though need it erating almost £500 million per tries’ really is an oxymoron. {

Intellect Journals for

over 40 new musicals as part of cost quite that much?). annum, and if two-thirds of this
the festival. But these venues When the government income is derived from musical Dominic Symonds and George
and festivals – important as they decided to offer tax breaks theatre, the claim to ‘dire straits’ Burrows are editors of Studies in
are – offer only limited seasons to the film industry for work seems hard to justify, especially Musical Theatre.
of new musical theatre, and
sadly, some of the other initia-
produced in the UK, the subsidy
controversy grew more complex:
with top-price West End tickets
now commonly costing over
£50 each; indeed, we might ask
where the industry is directing Further Reading
Developing Countries
The success of the recent its research and development
Studies in Musical
outpouring of musical theatre hits funds, its support for new initia-
tives, its championing of the in- Theatre How to apply
has been attributed to their high dustry specialists of tomorrow? Edited by Dominic Free Journals Online Who Can Participate? 1. First visit our website: http://
To be fair, these things are hap-
profile marketing through television pening: Olivier Bursaries for ac-
Symonds and George
Intellect now offers bona fide universities and This offer is open to academic institutions that
educational institutions in developing coun- reside in the eligible countries. The list of eli-
reality shows credited drama school students Subscription: Three Issues tries free online access to its journals portfolio. gible countries has been drawn up based on a
access/online-access3.php to see
the list of countries eligible to
support upcoming performers,
£33 personal / £210 This initiative was inspired by the work of the study of less economically developed countries receive this offer.
Mousetrap Theatre Projects
tives that had been championing if a commercial sector indus- Institutional World Health Organisation, which has worked published by the World Bank.
encourages young audiences 2. A senior librarian/member of
new musical theatre work until try comparable to the theatre and the Theatrical Management ISSN: 1750-3159 together with a number of leading publishers
staff at an institution will need to
recently have collapsed: notably industry could get tax breaks, Association supports managers. to offer full electronic access to their biomedi- Afghanistan, Guinea, Papua New Guinea,
complete the registration form and
the Cardiff International Festival then why couldn’t commercial Stage One, formerly the Theatre cal journals via the Internet. Bangladesh, Guinea-Bissau, Rwanda, Benin,
be willing to manage the online
of Musical Theatre and the Vivi- theatre producers? After all, Arts Investment Fund, offers bursa- Honduras, São Tomé, Bhutan, Iraq, Senegal,
access for the institution. Students
an Ellis Awards. Buoyant though Council England’s Economic ries to new producers and some Recognising the many financial and other Burkina, Faso, Kazakhstan, Sierra Leone,
and other individuals must not
musical theatre may appear, the Impact Study of UK Theatre support for new productions, obstacles faced by academic institutions in de- Burundi, Republic of Kenya, Solomon Islands,
SOLT figures actually repre- (2004) revealed that theatre in and the proposed National Skills veloping countries, Intellect aims to broaden Cambodia, Kyrgyz Republic Somalia, Central
sent a total of just 45 different London generated upwards of Academy is set to deal with the the areas of access for academics by dissemi- African Republic, Lao, PDR Sudan, Chad, Li- 3. Contact details will be required,
musicals produced throughout £1.5 billion to the economy in shortfall of trained workers in nating quality academic writing in creative beria, Tajikistan, Comoros, Madagascar, Tan- which includes a valid email ad-
2007 (including the old chest- related activities, and a further ‘backstage and technical live media and popular culture free of charge, and zania, Congo, Dem Rep Malawi, Timor-Leste, dress that uses the domain name
nuts), compared to 108 commer- £1.1 billion throughout the rest music and theatre’. we hope that this initiative will also encourage Côte d’Ivoire, Mali, Mauritania, Togo, Eritrea, of the institution. Private email
cially presented plays. Add in of the UK. But if commercial It all seems impressively debate and research in these fields on a truly Mongolia, Uganda, El Salvador, Mozambique, addresses such as Gmail, Hotmail,
the many new plays presented by theatre was to receive public geared up to keep the industry global scale. Uruguay, Ethiopia, Myanmar, Uzbekistan, Yahoo etc, will not be accepted.
subsidised venues, and you get subsidy, what are the chances going for a long time into the Gambia, Nepal, Yemen, Rep Ghana, Niger,
Studies in Musical Theatre is a
Zambia, Guatemala, Palestine, Zimbabwe. 4. Online access is provided via
an idea of the imbalance. that it would be the old gang future, and seems to have re- refereed journal which considers Atypon Link and is controlled
The rub is, of course, that (Oliver, Joseph and Maria) sponded to the ‘warning signs’ areas of live performance that using the IP addresses of an
musical theatre is an expensive creaming off the spoils rather of the Wyndham Report from To make an application see ‘How to apply’
use vocal and instrumental music institution’s internet server. All IP
proposition, and that on-costs than the new faces, the un- ten years ago: ‘slowing growth, in conjunction with theatrical addresses are fully validated and
for a new musical with the usual knowns and the experimental? too few new productions, too if your claim is accepted, it will be
performance as a principal part of
production costs, plus live musi- In any case, SOLT has already few young theatre-goers, and processed and online access via
their expressive language.
cians and creative costs that staked a claim to £250 million of a regional network which has Atypon Link set up.
are usually trebled (composer/ public funding to ‘bring the 40 for some time been chronically intellect publishers of original thinking
The Mill, Parnall Road, Bristol BS16 3JG 0117 9589910

14 | Thinking in Colour
Theatre & Music Peter Thomson
iQuote » “Let your performance do the thinking.” – H. Jackson Brown, Jr. iQuote » “Performance stands out like a ton of diamonds. Non performance can always be explained away.”– Harold Geneen

intellect Journal Focus

Peter Thomson
On Editing Studies in
Theatre and Performance
The decision to give up bowl- National Bibliography. There were was being judged exclusively on stances, Studies in Theatre Production
ing and take up wicket-keeping two handwritten lines of queries on what we wrote (by a panel that (its original name) was a mixture
enabled me to prolong my cricket the letter. The first read ‘Thom- included no drama specialists). of snook-cocking and desperate
career into my seventies. Good son, Peter William (editor) JULIUS ‘Practice’ – like self-abuse – was defence.
wicket-keepers go almost unno- CAESAR’. The second read ‘Are assumed to be something you did The first tentative issues were
ticed because they do an unobtru- you also author of THIS WONDER- in your spare time, and it stood to printed by a man I’d met playing
sively effective job. If you’re lucky FUL WORLD OF GOLF?’ I hadn’t reason that the research qual- cricket. He was a terrible cricketer
you’ll take a spectacular catch realised that the winner of the ity of such practice was nothing and a homespun printer, a gentle-
down the leg side or, better still, a British Open Championship had whatsoever to do with the Profes- manly sharer in a D-I-Y venture.
leg-side stumping. But that doesn’t exactly the same name as mine, sors of Architecture, Music and Chris McCullough and I battered
happen very often. The routine is to but it was with a diminished sense Old English who were our judges. staples through the loose sheets to
take whatever comes your way and of self that I answered, ‘No, but I Apparently, in 1981, one member make them into something approx- Above History of the Journal (1990 – 2008) from Studies in Theatre
Production to Studies in Theatre and Performance with Intellect.
start the ball on its way back to the wouldn’t mind the royalties’. Who of the Advisory Panel suggested imating a journal and then posted
bowler. Editing a journal is much remembers editors? Addison and that the decline in applicants for off copies to the Standing Confer-
the same. You receive an article ence of University Drama Depart-
as gracefully as you can, setting
in motion the processes that will
An experienced wicket-keeper will ments’ (SCUDD) sixteen member
institutions. We’d taken on the job
be an amateur is one thing, to be
amateurish probably another.
its development. I dislike essays in
which the writer avoids speak-
May 2008, SCUDD advertised for
assistant editors. By the time this
up my wicket-keeper’s gloves.
Come to think of it, a wicket-
return it to the author, with sugges- advise the bowler on line and length because we were doing our turn as The big shift came in 2000, un- ing in her/his own voice. Garbled is published, one or two of the ap- keeper is too important to the field-
tions for improvement. An experi-
enced wicket-keeper will advise the
without damaging their self-esteem; Chair and Secretary of SCUDD at a
midpoint between RAEs. But there
der the editorship of Lesley Soule
and Jane Milling. It was the move
gobbets from Derrida, Lacan,
Deleuze, Foucault etc. do less to
plicants should be in place, and not
long after that I’ll be able to hang
ing side to provide a safe analogy
with an editor. {
bowler on line and length without and writers are just as sensitive. was no flood of articles, and some- to Intellect, and the consequent form an argument than to cloud it.
damaging their self-esteem; and times no trickle. Shamefacedly, I transformation that established If there’s a point to be made, the
writers are just as sensitive. An edi- resorted to writing pieces to fill up Studies in Theatre and Performance as great theorists won’t make it for Further Reading
tor has to act as a buffer between a Steele for their first run of Spectator; Anglo-Saxon might be stemmed if the space, and it wasn’t until issue a professional scholarly journal. you. I like to give room to young
peer-reviewer and a fledgling con- Francis Jeffrey of Edinburgh Review; a few Drama Departments were to six (contributions from Sue Smith The change of title was significant, scholars, and I love receiving Studies in Theatre and
tributor. ‘To be honest, this is utter Boris Johnson (regardless of what be closed. (If I remember rightly, and Lib Taylor, David Ian Rabey, too. The tracing and redefining of work from regular contributors. Performance
crap,’ becomes, in editorial transla- he did with a later run of Spectator); that panel settled for inviting John Wesley Harris, Amanda Price, performance has become a matter I shamelessly exploit my editorial Edited by Peter Thomson
tion, ‘Our Reader found much to Richard Schechner at the Tulane seven universities to discontinue Elaine Aston – and, to get it up of academic urgency, beside which right to publish off-beat pieces Subscription: Three Issues
recommend in this piece, but…..’. Drama Review. But none of these Drama – which would have left to 60 pages, Peter Thomson and ‘theatre’ struggles to make itself under the heading of ‘Notes and £33 personal / £210
Inside the temples of academia, men would wish to be remembered no more than five at a time before Jérard Poulet) that we moved from heard. There is no longer a short- Queries’. But it’s probably time Institutional
truth is couple-coloured. only as editors. polytechnics were universities.) It stapling to binding. It must be age of submissions from across for me to move on. For the last six ISSN: 1468-2761
My first serious breaching of Studies in Theatre and Performance beggars belief that the academic admitted that Studies in Theatre Pro- the world. STP has become, in the years, and for a variety of reasons,
the iron gates of publication came (STP) began as a response of British community yielded so quickly to duction, until first Olga Taxidou and twenty-first century, a much bigger I have edited the journal single- Studies in Theatre and Performance (STP) is an academic, refereed
when I was asked to prepare an Drama Departments to the new Thatcher’s determination to sub- then Lesley Soule took on editorial business than any of us predicted. handed. It’s beginning to feel like journal for scholars, teachers and practitioners to share the methods
edition of Julius Caesar. Within a rigours of the Research Assess- ject universities to the stultifying responsibilities, was presented There is real privilege in editing it, my journal. I have to remind myself and results of practical research, to discuss issues related to theatre
week of its publication, I received ment Exercise. It was demonstrably rules of engagement of the market much as the better undergraduates and a danger that my own prefer- that the readership, not the editor, practice and to examine experiments in teaching and performance.
communication from the British the case that our academic status economy. In the prevailing circum- present their essays these days. To ences will have too large a part in should determine the content. In

16 | Thinking in Colour IQ 2008 | 17

The Soundtrack Interview The Soundtrack Interview
iQuote » Music and rhythm find their way into the secret places of the soul.” – Plato iQuote » “Music is the art of thinking with sounds.”– Jules Combarieu

intellect Journal Focus

Stephen Deutsch, Larry Sider media, so film teaches sound one

way, radio teaches sound another
Barton Fink.
LS: The current issue says a lot
often have is that writers contrib-
ute to them and they go on a list
the people she was talking with,
and I was astonished, because

and Dominic Power way. What we’re focusing on at

the School of Sound, and in The
Soundtrack, is that most of our
about what we’re trying to do
through the style of writing; we
hope you come away feeling that
of journal articles written for their
universities, and it’s immaterial
whether anybody ever reads them.
these were people who were not
academics, not art critics, and they
seemed to be touched by what she
work involves images in one way you’ve learned something, that DP: There is a problem with a lot said.
Interviewed By Piers Plowright or another. Very seldom do we you’ve entered new territory. A of hard academic writing; it can SD: What sort of journal is this?
listen to sound without looking number of the people who read be hermetic. At it’s worst it can be What is it for? It’s to engender en-
at something. So it’s very hard to this journal are experts in their incomprehensible, written with- thusiasm among people who find
teach sound on its own, except in field. So, to actually get behind the out a sense of communication. there isn’t a constituency to share
a very academic way. As Stephen scenes, and not just in a techni- And I think that’s a danger in an their enthusiasm, but not just on a
said, we’re trying to present some- cal way, but in a theoretical or academic journal - it means that fan mag level, but on a deep level
thing in a way that people are used conceptual way about how sound this stuff is printed but not read. where we can enter into a debate
to dealing with. And the sound- works with image, and just come SD: What we’re hoping for is to about some very important issues.
track is becoming an art form in away with new insights, that’s have a journal that people want to
our culture. what we’re aiming for. read and enjoy reading. PP: I think you’ve made a great
start. Shall we have a one liner
PP: Dominic, what’s your per- PP: Presumably you also hope that PP: So someone like Marina from each of you, for your hopes
spective on this? You obviously you’re bringing together the dif- Warner in your second edition, for for the future of The Soundtrack?
share those feelings. ferent disciplines in the journal, example. She’s an academic but SD: I hope we’ll get a big reader-
DP: My interest started through which may also encourage greater she’s actually also a novelist and ship, who enjoy it, and who’ll
film music, but I’ve become aware bringing together within film- a poet. contribute as well.
that when I recall a particular film, making. LS: The examples that she uses in DP: I’d like us to produce some-
I’m recalling the timbre as much LS: It has to do with integration her paper would be relevant for a thing that has the widest possible
Founded by Stephen Deutsch, Larry This edited version of their conversa- whole world. as the image. Part of the function and the bringing together of what lot of people working in film or readership, and that I’d like to go
Left to right Sider and Dominic Power, the inten- tion discusses the issues surround- of The Soundtrack is to explore the seem to be opposites: theory and TV. What she says would make back to and reread, as I do with
Larry Sider, Stephen Deutsch,
Piers Plowright & Dominic Power tion of The Soundtrack is to deal with ing a journal that creates a forum for PP: Larry, when you started the aesthetics of sound, which has not practice, the practitioner and the them think “I can relate to that, the best magazines and journals.
sound as a whole. The editors come an inclusive discussion of the film School of Sound, were you con- always been done. As Stephen and academic, art and entertainment. and that makes me think about LS: I would like to see The Sound-
from different disciplines: Stephen soundtrack. scious of the same thing that Larry said, it’s always secondary to There’ve been some strides made what I do in a more interesting, track have an effect both
Deutsch is a composer, responsible Stephen is talking about, that this the image. within film education to do that, off-the-wall sort of way.” After she on the teaching and the practice
for a number of television scores, PP: So why do we need a journal gap between various different sound but it is very hard in the current delivered that paper at the School of film-making and to create a
as well as the writer of a number of called The Soundtrack? practitioners needed to be closed? PP: Are you planning to give room climate where education is about of Sound I remember looking at dialogue between the two. {
television plays. He is Professor of SD: The notion of the soundtrack is, LS: I’d worked in sound for many to other voices? jobs; academia and professional
Post-Production at Bournemouth at least from the point of view of this years – on documentaries, anima- SD: We’ve encouraged people practice rarely mix and in the pro- Further Reading
University; Larry Sider is an editor journal, fairly new. It assumes that tion, experimental films – and then to write, we’ve even encouraged fessional world analytical thinking
and sound designer, Head of the everything which emanates from the began teaching sound and editing in people to send their own ques- is thought to be ‘not what we The Soundtrack
School of Sound and lecturer on speaker is a coherent unity, which the mid-nineties. This showed me tions to the board. Our editorial do’. This is partly true and partly
Edited by Stephen Deutsch,
Sound and Post-Production; Domi- tends to favour the spoken voice, that sound wasn’t being considered board contains some of the most untrue. The idea is to try and bring
Larry Sider and Dominic Power
nic Power is Head of Screen Arts at but coherent nonetheless, because seriously within film education. All eminent names in sound and mu- together the best of both kinds of
Subscription: Three Issues
The National Film and Television the audience hears it that way. Most anybody wanted was clear dialogue sic: Walter Murch, Randy Thom, thinking.
School, Lecturer in the History of writing on the subject of film music and nice music. But, when you think Rick Altman, Claudia Gorbman, £33 personal / £210 Institutional
Film Music at Kingston University as and sound treats their subjects as about it, half of your film is happen- Elisabeth Weis, Michel Chion. In PP: And also make it something ISSN: 1751-4193
well as being a BBC radio dramatist. separate areas, so you have a lot ing in the soundtrack and very few this next issue we put a ques- that the general reader can have a This journal focuses its attention on the aural elements which combine
The editors of The Soundtrack were written about film music that doesn’t filmmakers know how to work with tion to the board: can you name bit of fun with? with moving images. It regards the sounds which accompany the visuals
interviewed on the eve of the pub- take into account anything going that. Now sound has become more a film in which sound and music SD: I hope so. That’s one of the not as a combination of disparate disciplines, but as a unified and coher-
lication of the second issue, at The on in the rest of the soundtrack. of an area of study in its own right work particularly well. Claudia issues with any journal like this ent entity. It assumes that irrespective of the industrial determinants,
National Film and Television School Similarly with film sound - music is and that has to do with technology Gorbman and Liz Weis and Randy because it’s within the stable of the soundtrack is perceived as a continuum by the audience.
by well-known broadcaster, lecturer regarded as something to be fought evolving in the last twenty years. Thom responded. Walter Murch academic journals, and one of the
and radio producer, Piers Plowright. or dealt with, but not part of the But it is separated within different wrote a beautiful little article on difficulties that academic journals

18 | Thinking in Colour IQ 2008 | 19

intellect by numbers
Law of Averages Law of Averages Law of Averages

61 countries that our authors/editors/contributors come from:

30.1 46
Average time spent in meetings per day (in minutes)

Average time spent listening to music per day (in minutes)

Y X Average time spent Average time spent stuffing

communicating with authors/ envelopes, photocopying
editors and other essential but dull

3.1 4.3
Average number of cups of tea/coffee consumed per day Average length of phone conversation (in minutes)

26% 28%
o  Average time spent doing
other random elements
Average time spent sharing
ideas with colleagues

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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
Scientific Publications. Publishing seven books and two Publishing twelve books and
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 the

Expanding into North America
Intellect was formed as Intellect published its 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 Intellect to publish directories of
England and Wales by publishing deal with the US to Bristol and employed From January 1st 2009, Intellect
of Plymouth University and for its human resources world cinema.
Masoud Yazdani and two publishers, Ablex. its second full time staff will have a base in North
employed its first full time management. Publishing
other university academics, member. Published eighteen America as well as our main
staff member. Publishing 10 25 books and 21 journals,
initially offering advice and books and five journals. offices in Bristol, England.
books and 3 journals. employing five full time staff.
running seminars. Visit our website for
Website launched. further details!
Media & Culture Media & Culture
iQuote » “It is the spectator, and not life, that art really mirrors.” – Oscar Wilde iQuote » “I shut my eyes in order to see.” – Paul Gauguin

Image Critique
intellect Book Focus Wall painting showing trompe l’oeil
effect, Berlin, 2002.

& the Fall of

the Berlin Wall
Sunil Manghani
With the same familiarity events’, the out crop of a consoli-
of a nursery rhyme the simple dated 24-hour news production
phrase ‘the fall of the Berlin Wall’ process. Yet, interestingly, for all
remains with us. It is a chapter their historical, social and politi-
heading, a footnote and of course cal significance there has been
a turning-point in the flow of an very little critical attention given
argument or indeed the contest specifically to the images of the
of political ideologies: after the fall of the Wall. It is as if those
fall … it all changes. It denotes television (and newspaper) pic-
a time, a place and a sense of tures – as some form of ‘Instant
change. It marks a new begin- History’ – were too self-evident a
ning, as well as an ‘end of his- portrayal as to require any further
tory.’ We live in a post-Wall era explanation or examination.
and that carries with it certain Image Critique & the Fall of the
responsibilities, not least how Berlin Wall obviously seeks to ment. In broad terms, I have events reflect a new immediacy rise in televisual 24-hour news tinuum of history. Nevertheless,
we choose to respond and relate redress this situation. Yet, in sought to remain faithful to the of knowledge and informa- reporting (which in turn has the dominant interpretation of
to the media news events that writing this article I find myself tradition of critical theory, but tion, which have a levelling led to the very mechanisms and the fall of the Berlin Wall is one
the fall of the Wall prefigures. wanting to argue against my own more specifically I engage with effect – the critic and expert logistics of live reporting itself of celebration and the victory
In November 2009 it will be book. Not against the content, the contemporary issues and becoming as much a spectator becoming newsworthy). There of capitalist, liberal democracy
twenty years since the fall of the but against the image of the book is a potential flattening out of (neatly captured and promul-
Berlin Wall. Whilst the event it-
self may seem for some a distant
that potentially goes before it
(compounded perhaps by the We live in a post-Wall era and that ideological differences in con-
temporary journalistic practice,
gated by Francis Fukuyama’s
thesis of an ‘end of history’). Any
memory, its global importance as various images which accom- carries with it certain responsibilities, but this does not necessarily ‘other’ story seemingly remains
a political symbol, marking the pany this article and ‘anchor’ its lead to a more complex report- unknown (perhaps even un-
wholesale collapse of commu- meaning further). It is symp- not least how we choose to respond ing or picturing of events. Added knowable). What is apparent, for
nism and the purported victory
for liberal democracy worldwide,
tomatic of the very nature of the
images I write about that they
and relate to the media news events to which, we can consider an
event such as the fall of the Wall
example, is a one-sided perspec-
tive; a ‘greying’ out of the East as
remains a significant feature of easily override what one really that the fall of the Wall prefigures. as a form of instant replay. Not either a mere object of the past
our recent history. One of the wishes to say. The book does not only is its form of history to be or place of the mundane, with
reasons why this event has had seek to provide any straightfor- thought of as a specific moment the effect of always placing the
such resonance is that a host of ward analysis of visual represen- dilemmas that visual culture and as anyone else. The consump- in time, as an event, but it also East aside as some ‘perpetual
television cameras were on site to tations of the fall of the Wall. image studies have helped bring tion of instant history events can refers to an inherent repetition abroad.’ It is a line of argument
beam the pictures of celebration Instead, the primary interest to attention (a chapter-length be said to screen (out) history and circulation of meaning, the I follow up with an analysis of
around the world. At some level is to present an idea of what I overview is given in the book). in various ways, which relates event being instantly available two film comedies, Helden wie
we all shared in the occasion. term ‘image critique’: a double The book begins with a layered particularly to a new kind of for citation and re-circulation. wir and Goodbye Lenin! Both films
East Side Gallery, Mülenstrasse, Berlin, 2002. Indeed the event can be situated procedure of both a critique of reading of what I term ‘in- transparency of the media, In effect, this creates an ever- present alternative and some-
in a growing chronology of ‘news images and their critical engage- stant history’. Recent mediated evident, for example, with the present and malleable con- what surreal accounts of

22 | Thinking in Colour IQ 2008 | 23

Media & Culture intellect publishers of original thinking

Theatre & Music

iQuote » “Success is doing ordinary things extraordinarily well.”– Jim Rohn

the event of the fall of the Wall. today we should not necessarily Books and Journals
Whilst neither of these films is be looking to ‘import the next Bernauer Strasse Wall Memorial, 2002.
necessarily entirely successful, I grand Continental paradigm …
suggest elements of them help to but of doing something … do-
more concretely illustrate what ing creative, inventive thematic
an image critique of the fall of work’. Crucially, the idea of an Russia, Freaks and Foreigners: Journal of Adaptation in Film and
the Wall might actually look like. image critique put forward and Three Performance Texts Performance
Overall, the book should be ‘performed’ in the book is not By James MacDonald Editors: Richard J. Hand
understood as thematic (and about making final, resolute £14.95 / ISBN 9781841501864 & Katja Krebs
not systematic) in approach. arguments through pictures – 224pp / August 2008 ISSN 17536421,
Adopting a blend of scholarly nor about advocating a collec- 3 issues per year
and personal prose, the book tion of better, more ‘truthful’
weaves its way through the case- ones. Instead it refers to a more Sex on Stage: Gender and Sexuality
study of the fall of the Berlin open-ended and on-going in Post-War British Theatre Studies in Theatre and Performance
Wall in exploration of the issues critical reflection; a thought- Editor: Peter Thomson
By Andrew Wyllie
and debates of visual culture. A image to be, as it were, a critical ISSN 14682761,
£14.95 / ISBN 9781841502038
3 issues per year
recommendation of the philoso- space in which to discover and 160pp /Feb 2009
pher Simon Critchley is kept in wrestle with the full complexity
mind: in viewing philosophising of ideas, things and events. {

Media &Culture
Further Reading

Image Critique & the

Fall of the Berlin Wall
By Sunil Manghani
£19.95 / $40
ISBN 9781841501901
Published June 2008
Books and Journals
Taking the fall of the Berlin
Wall as a key marker in recent Finding the Right Place on the Map: Journal of African Media Studies
history, the book presents a Central and Eastern European Media Editors: Winston Mano, Monica Chibita & Wendy
new critical concept of image critique: a double proce- Change in a Global Perspective Willems
ISSN 17517974
dure of both a critique of images and the use of images Edited by Karol Jakubowicz & Miklós Sükösd 3 issues per year
as a means to engage with our contemporary mediated £19.95 / ISBN 9781841501932
culture for new critical purposes. Topics range from 302pp / August 2008
Francis Fukuyama’s End of History thesis to metapictures,
International Journal of Media and
contemporary East German film and the notion of the
public sphere/screen. In staking out a new critical visual Cultural Politics
European Media Governance: The Editors: Katherine Sarikakis & Neil Blain
theory, the book seeks to present the fall of the Wall as
a means to situate a complex interactive account of his-
Brussels Dimension ISSN 17408296
Edited by Georgios Terzis 3 issues per year
tory, politics, freedom, the media and visual culture.
£29.95 / ISBN 9781841501987
Check out Sunil Manghani’s blog for more information:
216pp / 2008

intellect publishers of original thinking

The Mill, Parnall Road, Bristol BS16 3JG 0117 9589910
24 | Thinking in Colour
027 film»feature
exclusive interview
iQuote » “A home without books is a body withoutliving alone
soul.” – Marcus Tullius Cicero

BFI Filmstore
An Interview with the BFI Filmstore Manager, Ian Ryan

How did you get into the booksell- ships with the reps from the larger

open Debate Passion

ing industry? publishers and I’ve been fortunate
I started out working in librar- enough to bring these with me.
ies and then in 1997 – 1st April I suppose this is my chance to

your discuss in motion strangely – I started a part time

job with Books Etc. The BFI shop
champion the role of the rep no
matter whom they work for, be it

opened last March. the large multinational or the small

eyes discover What kind of collaboration is there

between the bookshop and the BFI?
independent. I’ve found them all to
be extremely helpful and open to
ideas. If I were to give any advice to
filmint. filmint. filmint. On a basic level the shop is part small independent shops it would
of the BFI. All profits made by the be to make sure you work with your
Filmstore go back into the BFI and rep, make the most of them as they It’s difficult for us with all these perceive that all they are getting is
the work it promotes. We get a lot have a lot to offer. In the current advantages so I really feel for the ‘just a downloaded file’. Everything
of support from all the different climate they need us as much as we small booksellers out there. It’s not is not all doom and gloom though.
departments. For example, the need them. all bad though – Amazon does have The book is as near a perfect piece
Programming and Events teams its ‘Achilles heel’, which is its size. of hardware as you can get. It’s
have been really good in helping What are the biggest challenges It has too much to choose from. flexible, long lasting, won’t need
promote the Filmstore by encour- facing independent bookshops in The role of a good bookshop is to a new bit of kit to play/read it in a
aging guests to either take part the future? siphon out the rubbish and offer few years time, can be dropped,
in signings, or by opening doors In one word ‘Amazon’. I under- the products that the customer drawn on, left on the bus etc etc.
to suppliers and distributors of stand that Amazon can work on the is looking for. Also, it lacks the Also people like to own books.
interesting books and films. Hav- basis of a 15% margin but it doesn’t personal aspects that a lot of people They’re an outward expression of
ing access to the more independent help when a customer can buy find important. themselves. Who doesn’t go round
and interesting releases allows us books cheaper from Amazon than a house and look at what books are
to stay attractive, and helps set us I can buy them from the publisher. Do you feel that the development on a person’s shelves?
apart from other outlets. Another This isn’t just large multinational of the ebook industry will affect
department that has played a key publishers offering Amazon huge booksellers significantly? Could I take this opportunity to
role in our success is education. discounts – small independent I could write pages on how I see the quickly thank all the staff at the
People tend to think of the BFI as publishers are just as guilty. I’m in ebook impacting upon booksell- BFI Filmstore. Without their hard
purely a place to go see films but it a privileged position where I am; ers. I think that publishers should work, knowledge and, most impor-
invests a lot of effort in campaign- the BFI is a destination in itself, look to the experiences of the tantly input, it wouldn’t be as good
ing to raise the significance of film my customer base has a certain music industry – especially when as it is. {
to schools and colleges. amount of disposable income and it comes to the dissemination of
they are passionate about film. digital media. There’s bound to
Can you describe some of the key Psychologically this is important be sites like Napster etc springing The BFI Filmstore is a stockhold-
differences between working di- for me as it means they don’t neces- up. There’s a generation of people ing bookshop for Intellect’s film
rectly with independent publishers sarily look for the cheapest option. who see no problem in download- books and journals.
compared with big multinational
In my opinion what publishers have
allowed with Amazon is a complete
ing digital media and not paying
for it. To me this is a continuation 8+
To be honest for me there’s been undervaluing of their product. The of the devaluation of artistic and Contact the BFI Filmstore:
little difference between the two. most common question/accusa- academic materials. I do wonder Belvedere Road, South Bank,
Waterloo, SE1 8XT
Perhaps I have a slightly skewed tion I get is that we’re overpricing how publishers in the future will T: 0207 815 1350
experience in this area. Whilst at our books and DVDs – the ‘I can justify charging people £10 or £15 E:
Books Etc I built strong relation- get it cheaper from Amazon’ line. pounds for an ebook when people W:

IQ 2008 | 27
Book Reviews Book Reviews
iQuote » “If you only do what you know you can do- you never do very much.” – Tom Krause iQuote »“Enthusiasm is excitement with inspiration, motivation, and a pinch of creativity.”– Bo Bennett

art and dance/performance) are any professional writer, though

touched on only lightly in single they are no worse than one
essays. Perhaps these subjects finds in the typical gallery press
deserve dedicated publications release. All professional writers
Issues in Curating Contemporary Art in future where they might be on art should be required to
and Performance examined in greater depth. study classic prose and fiction.

Edited by Judith Rugg and Michèle Sedgwick

ISBN 9781841501628 hb £29.95
In this book of 12 essays academics,
Published Dec 2007 writers and curators examine different
Reviewed by Alexander Adams. aspects of curating. The scope of the texts
ranges from case studies in curating
to examination of the basis for this
The questions of which roles
curators do and should play are
The field is controversial and new.
As JJ Charlesworth points out
contested practice.
becoming more pressing. The here “‘curating’ is a neologism
increase in the number of museums so recent that dictionaries There are essays here that Fortunately, these aberrations
(the Guggenheim “franchise” and have not yet caught up”. perpetrate crimes against logic are in a minority and most
new institutions in Asia and the The self-effacement in Catherine and the English language. texts here are informative and
Middle East, among others) and a Elwes’s discussion of the dynamics “Disjunctive” is not the same thought-provoking. The lucidity
burgeoning biennale culture has behind Anglo-Canadian video as “disjointed”, “privilege” is and reasonableness of some of
required a new class of curators. projects comes from her egalitarian not (yet) a verb and “normative” these authors are in danger of
These curators (many of them background in Feminist co-operatives instead of “normal” (or giving curators a good name.
artistes manqués) claim, explicitly or in 1970s London. The style of her “normalising”) is plain wrong. Alexander Adams is an artist
implicitly, not just a status comparable text serves her and her subjects well. Such examples should shame and writer living in Berlin. {
with artists but to be artists on the Chris Dorsett’s elliptical approach,
basis that they recontextualise works using personal association to the
of art. Appropriation has been an viewing experience, proves effective
artistic strategy since Duchamp’s in drawing together multiple strands.
readymades. Imagine librarians, Charlesworth takes a broad view of
on the basis of organising books, curating and clearly summarises the
claiming to be authors and you have problems of legitimacy that it faces.
a good idea of the situation. Curators Some essays focus on specific
are not artists. They are transient projects. While this provides practical
patrons who act as instigators, examples of curatorship, length
enablers, commissioners and restrictions sometimes mean the
gatherers of art. In effect, curators implications cannot be fully followed
are temporary Medici, however, up. One exception is Richard Hylton’s
the actual Medici admitted their piece examining Autograph, a Black
patronage had politic aims: to photographers’ collective, and the
glorify their state and themselves. politics and power behind funding.
In this book of twelve essays, His engrossing discussion is a study
academics, writers and curators of how self-defined groups unite to
examine different aspects of struggle for representation yet lose
curating. The scope of the texts important facets of identity once they
ranges from case studies in are co-opted by the establishment.
Above Penelope Haralambidou, ‘3 John Street: 1:50’, Spatial Imagination,
curating to examination of the It is deftly written and engaging. The Domo Baal Gallery London, 2005. Photograph: David Cross of Cornford & Cross
Above The work of Jan Peters (foreground) and Martina Schmid (far wall), Ausland,
The Domo Baal Gallerry, London, 2003. Photograph: The Domo Baal Gallery
basis for this contested practice. Two topics (computer-generated

28 | Thinking in Colour IQ 2008 | 29

Book Reviews
iQuote » “There are no failures – just experiences and your reactions to them.” – Tom Krause

Declarations of Independence:
American Cinema and the Partiality of
Independent Production
By John Berra
ISBN 9781841501857 pb £19.95
Published March 2008

All new titles £10

Reviewed by Christine Carr York.

Intellect books are also available in ebook

format for both libraries and individuals to John Berra’s academic discussion himself quite a tricky task as there For once, Hollywood could take the introduction, the study actually
purchase. All new and forthcoming Intellect of American independent cinema is so much to include in such a a backseat to the independents, benefits from jumping into the
has the best of intentions. short book. but the book seems to keep it in-depth analyses that are its heart
ebooks are just £10 each. Independent cinema’s relationship Berra assumes his audience very much the centre of attention. and soul.
with mainstream films and the knows little about Hollywood’s Perhaps in its inclusion, the author In his acknowledgements, Berra
studio system is complicated and system of mass production so is commenting on its power and welcomes any discussion that
merits intense scrutiny. From the the bulk of his initial discussion omnipresence in the industry. arises from his book’s publication.
Individuals beginning, Berra is optimistic, focuses on the studio system and Berra also includes other theorists Since generating discussion is one
Providers: EBL, and Ellibs. but does not always seem able its relationship to and acceptance and academics in his study. The of independent cinema’s aims,
Search for a particular Intellect ebook by title, ISBN or au- to decide which aspect of study of independent film. He raises negative side of this technique is it feels particularly appropriate
thor and then buy and download a whole book or part of a deserves the most focus. He states some interesting, fleeting that he admits in the introduction and appreciated. The author is
his objective is “to disprove the points, such as suggesting that that critical discussion of clearly invested in this topic and
book. popular assumption amongst independent cinema has taken independent cinema is severely a follow-up book would be more
commercial journalists and the place of foreign film in lacking. Therefore, his attempts than welcome as there is plenty
Libraries consumers of popular culture, that America. The fact that the studios’ at finding other theorists’ views left to discuss. A close study of
Providers: EBL, Ebrary, Netlibrary, Myilibrary, Ellibs cinematic works that have been stranglehold on marketing and to support his own are perhaps American independent cinema is
declared as, or critically assigned distribution prevents a true not always helpful. However, he long overdue, and this painstaking
and dawsonera. the status of, ‘independent,’ independent cinema from ever very wisely includes references to inquiry gets the ball rolling.
Libraries can purchase individual ebooks from the above are autonomous of corporate existing is discussed at great the cultural changes and societal Christine Carr York is a recent graduate
sponsorship, or influence, from length, however. Even in his upheavals that allowed the most of the Film Studies Department,
providers or discounted subject-focused ebook bundles can other forms of popular media,” analyses, Hollywood encroaches important independent films University of North Carolina
be purchased from EBL and Dawsonera. Each of the four but has much more in store for upon the discussion. While no such as Easy Rider to have such Wilmington. {
collections – film, media, theatre and art – includes the reader (10). Berra would study of American cinema can impact. Berra is at his best in these
the unlimited purchase of twenty Intellect ebooks. also like to “redefine what can
be meant by the term ‘modern
American independent cinema’” The author is clearly invested in this topic and 8+
Visit the ebooks area of our website for further information: and to “establish whether creative a follow-up book would be more than welcome Send us your letters
autonomy can actually exist within as there is plenty left to discuss. and feedback as we’d
the system of mass production”
(10-11). The author addresses love to hear from you.
these objectives by examining how ever completely avoid mentioning instances and when discussing Intellect, The Mill, Parnall
specific independent films and the Hollywood machine, it has specific directors and films. Rather Road Fishponds, Bristol BS16
film-makers relate to the studio been analyzed many times before, than simply working from the 3JG
intellect publishers of original thinking system. In doing so the author sets overlooking independent films. exterior to the interior, as stated in
The Mill, Parnall Road, Bristol BS16 3JG 0117 9589910
IQ 2008 | 31
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Oliver Wendell Holmes

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