Böcker utgivna av Intellect Books

The book traces the story of how a song recorded in 1981 by a young punk rock band from a cultural backwater on the English-Welsh border, and released on a tiny independent record label, became famous in a Yugoslavia formed in the image of Marshall Tito? Why was it 30 years before the members of the band found out? How did this 'socialist' country have one of the most vibrant punk scenes in the world?Gloucester, England, 1981; multi-racial, teenage street-punk band, Demob, recorded and released what would become their best known and most enduring song, No Room For You. A rasping vocal told the story of the 1979 closure of a short-lived, punk rock venue at a disused motel on the edge of the provincial city. Depending on your mind-set, the lyrics were either a howl of rage at the injustice, a wail at the loss, or a love-song to an era. More than three decades later, the author - and Demob's bass player in 1981 - set out to follow the song across a country that no longer exists. On the road he heard the life stories of the heroes of Yugoslavian punk and the punks themselves; from the Tito era, through the disintegration and wars, forced displacements and permanent exiles, to today's turbulent 'reconstruction. Who were 'Tito's punks' and who are they now?An unvarnished but also affectionate portrait of Yugoslavia in the years before its demise through to the present, seen through the unlikely lens of punk and punk rockers. Part travelogue, part history the book is both, and neither, of those things. Rather, it is a mural and soundtrack of a journey through a time and place which no longer exists. The latest addition to the Global Punk series from Intellect.

The first of its kind - original, unique and beautifully illustrated by the author. Engagingly written, it will appeal to fans and academics alike.A lavishly illustrated study of the heavy metal battle jacket in a historical and cultural context, with a unique approach to analysis and interrogation of form and style through painting practice and theory.Since the 1970s, customized denim 'battle jackets' have been worn by heavy metal fans to signify their devotion to the music and subcultures of metal. Embellished by the wearers with patches, badges and studs, these jackets are works of art that communicate the values of metal to the world at large. This book features a series of detailed paintings that visually document examples of jackets alongside photographic portraits of the fans that wear them.The accompanying chapters describe the significance of battle jackets in metal scenes and trace a lineage of customized clothing starting in the Middle Ages. Connections are made with a wide range of historic and contemporary artworks, suggesting a broad context within which to more fully appreciate the significance of the jackets. The methodology spans a range of disciplines from art theory to ethnography and subcultural studies, and the discussion is informed by responses from a series of interviews conducted over the years with metal fans.The book has a highly original focus and the author's approach to the subject is unique. It reaches across a range of fields: the history and cultural context of heavy metal music, style and dress; art history and practice, particularly painting; subcultural studies; fashion and dress; music graphics, branding and marketing.Tom Cardwell is an artist and researcher specialising in contemporary painting, customized clothing and heavy metal subcultures. He is senior lecturer in painting atCamberwell, University of the Arts London.It will appeal to readers with an interest in metal subcultures; fashion, style and dress; music branding and identity; contemporary art theory and practice.The writing style and content is relaxed, engaging and will be of interest to a wider casual readership with an interest in popular culture and the arts.A useful resource for academics and students interested in heavy metal, customized clothing/DIY subcultures, painting and visual arts. Could appeal to undergraduate as well as postgraduates and scholars in these fields, and a broader interest in visual culture.

Examines how scientific objects in museums and other collections act as inspiration to contemporary art practice, its histories, curating and aesthetics. Cross-disciplinary essays from leading arts professionals explore how scientific encounters in museums provoke new modes of creative thinking about art, science and curating. 84 col. illus.

Veganism is so much more than what we eat. It's about striving to live an ethical life in a profoundly unethical world. What does veganism have to do with wider struggles for social justice - feminism, LGBTQ+, anti-racism, environmentalism? This compulsively readable book dives deep into the heart of these questions.

The result of five years of practice-based creative research focused on Nicole Garneau's UPRISING project, Performing Revolutionary presents a number of methods for the creation of politically charged interactive public events in the style of a how-to guide.

Imaging the City brings together the work of designers, artists, dancers and media specialists who investigate how we perceive the city, how we imagine it, how we experience it, and how we might better design it. The editors open up the field of urban analysis and thought to the perspectives of creative professionals from non-urban disciplines.

The Calling Blighty series of films produced by the Combined Kinematograph Service produced towards the end of the Second World War were one-reel films in which soldiers gave short spoken messages to the camera as a means of connecting the front line and the home front. These are the first ever films where men speak openly in their regional accents, and they have profound meaning for remembrance, documentary representation and the ecology of film in wartime.Of the 400 films (or 'issues') made, 64 survive. Each of those contained around 25 individual messages. Men - and a very few women - from a particular city, town or region were grouped together for the films to make regional screenings back in UK cinemas and town halls possible. Personnel from all three services are featured, but the men are predominantly from the army units. Screenings took place at a cinema in the subjects' local area and were usually organised by the regional Army Welfare Committee. The names and addresses of those to be invited to the screenings were sent to the UK along with the films.Until now, these films have barely been researched, and yet are a valuable source of social history as well as representing a different mode from the mainstream of British wartime documentary. This book expands the history of Calling Blighty and places it in a broader context, both past and present. New research reveals the origins of the film series and draws comparisons with written and oral contemporarysources.Steve Hawley is an artist/filmmaker whose work has been screened worldwide, and has collaborated closely with the North West Film Archive UK. He is emeritus professor at the Manchester Metropolitan University UK.Using memoirs and diaries, Steve Hawley has researched the roles in the Burma campaign of participants in the surviving films, and traced over 160 of the families of the men- and two men still alive- and recreated these wartime screenings.Hawley's book is part description of the films, part reclamation of a largely unknown genre of wartime filmmaking, partly an account of the Burma campaign, and partly a discussion of war and memory. Engagingly and warmly written.It will be of interest to scholars and researchers in the areas of war studies, especially those specializing in the social rather than military history of warfare, and historians of British wartime cinema and documentary. Also useful for an undergraduate audience, in history, media/film studies.Potential for readers with an interest in the Second World War, particularly the war in Burma, and those with an interest in family history of the period.

A book for artists, art teachers, teaching artists, and those who prepare teachers. It is a poetic, inspirational framing of visual art artmaking that cultivates divergent practices within current issues and trends in contemporary art and education. It is a field guide to studio methods for the artist and educator. 200 colour illustrations.

Provides a model for therapeutic decision-making, uniting drama therapy interventions with diagnostic information, individual and group processes, psychological distance, the drama therapy pie, and global outcomes in a series of questions for early career drama therapists and other healing professionals. Fully revised and substantially expanded. 7 b&w illustrations.

Comprises scholarly engagements with the various outputs of the prolific Berlin based German artist Ulrike Ottinger born in Constance in 1942 to a Jewish mother and a non-Jewish father both of whom were protected from the Nazis by the paternal grandmother. The book consists of thirteen contributors, one commentator and 5 interviews. 20 b&w illus.

Jazz photography has attracted increasing attention in recent years. Photographs of musicians are popular with enthusiasts, while historians and critics are keen to incorporate photographs as illustrations. Yet there has been little interrogation of these photographs and it is noticeable that what has become known as the jazz photography 'tradition' is dominated by a small number of well-known photographers and 'iconic' images.Many photographers, including African American photojournalists, studio photographers, early twentieth-century migrs, the Jewish exiles of the 1930s and vernacular snapshots are frequently overlooked. Drawing on ideas from contemporary photographic theory supported by extensive original archival research, Sight Readings is a thorough exploration of twentieth century jazz photography, and it includes discussions of jazz as a visual subject, its attraction to different types of photographers and offers analysis of why and how they approached the subject in the way they did.One of the remarkable things about this book is its movement back and forth between detailed archive research, the empirical documentation of photographers, their techniques, working practices, equipment etc., and cultural theory, the sophisticated discussion of aesthetics, cultural sociology, the politics of identity, etc. The result is both a fine scholarly achievement and an engaging labour of love.The primary readership will be those with specialist interests in the history of jazz and the history of photography. The audience will include jazz scholars, musicians, critics and fans, along with photographers, photography scholars, art historians and those generally interested in the history of visual images.It will be an essential text for teaching as well as research in the fields of music and photography. It will be of interest to those teaching and studying within cultural studies, American studies, African American studies, critical race and ethnic studies, history, English and sociology.There is also a significant readership for jazz and photographic history outside the academic context. It will be of interest to the media, the museum world and the general reader with interests in music or photography.