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Embodying the Artificial examines how dance creation unfolds in dialogue with generative AI and related technologies. Grounded in ethnographic research, the book focuses on the kinesthetic dimensions of human–AI interaction to explore how generative systems reshape the creation and performance of dance. Through analyses of choreographic practices involving AI avatars and other intelligent technologies, the author interrogates the ontological, epistemological, and ethical questions that arise when machines become creative partners—challenging established notions of dance, embodiment, and creativity.

Bridging theory and practice, this research offers conceptual and methodological foundations for understanding human–AI interaction in dance. It introduces a clear framework for categorizing interdisciplinary creative processes with various kinds of machines and provides choreographers and movement artists with tools to navigate, design, and reflect on co-creative processes with artificial agents.



Thoughtfully conceived and comprehensive in scope, this book is poised to make a significant and enduring contribution across multiple fields, including dance and performance studies, media and digital studies, and interdisciplinary research. Comparable work in this area is limited – Embodying the Artificial is a thorough and authoritative survey of the topic, presented in a manner that is both engaging and accessible.

Hyper-imaging: New Languages for Art, Media and Communication describes a condition in which images are processes and no longer end points; relays of action instead of representations. In turn, this redefines curating as a form of active mediation between human attention and the invisible systems shaping it. Throughout the book, Dr. Cramerotti weaves theoretical perspectives with case studies drawn from his curatorial experience and deep engagements with artists and thinkers whose work interrogates these shifting dynamics.

It offers a compelling argument that images are shifting from static representations to active practices, using the author’s curatorial experience to illustrate this transformation with clarity and depth. Thoroughly supported by scholarship and professional insight, the book shows how images circulate, shape our responses, and position artists and curators as key figures in evolving media theory.

This is a book about how images function: how they move, mutate, and co-author meaning with machines, publics, and institutions. The goal is to equip curators, artists, scholars, and readers to better navigate this terrain: to engage critically, act creatively, and think infrastructurally. In the age of hyper-imaging, what is seeing is not the point; it is the system of seeing that must be curated.

This is the first English-language handbook of the cinema of Central Asia, covering the key films from the Soviet era and independence.



The volume contains ca. 150 entries on individual films, as well as introductions to the film histories of the five republics: Kazakhstan, Kyrgyzstan, Uzbekistan, Tajikistan and Turkmenistan.



Introductory chapters highlight the key moments of the cinematic development, film studios and festivals, and production histories for the five Central Asian republics. The entries are written by specialists on the film histories of the republics from US and UK, as well as the republics.

A critical study of the theories of Russian literary critic and philosopher Mikhail Bakhtin (1895–1975), considering how his concepts can offer valuable new approaches to interpreting visual art.



This work is the first to propose a cohesive methodology for applying Bakhtin’s thought to visual art, drawing on intermediary frameworks developed by Susanne Langer, Norman Bryson, Vygotsky, Pavel Florensky, Philip Rawson, Michael Baxandall, and Gilles Deleuze. Bakhtin’s philosophical and linguistic insights are examined in relation to works by Giotto, Riemenschneider, Velázquez, Cézanne, Picasso, Rauschenberg, Marlene Dumas, Bontecou, Caro, and Ghenie.

Punk and the Animal: Ethos, Ethics, and Aesthetics, gives contemporary insight into critical interspecies debates from an analytical perspective through the lens of punk.



It explores the synergies, crossovers, and alignments of punk thinking, together with punk ideologies and influences in contemporary animal studies. The volume includes contributions from leaders in the punk movement who engaged in exemplary practices that helped forge ongoing connections between punk and animal studies. In addition, it includes chapters by artists, scholars of visual and popular culture, animal studies specialists, and others in artistic and art-affiliated disciplines who have found their way into animal studies from one of the many manifestations of punk and who see punk’s ethos, ethics, and aesthetics as formative to their own work.



This volume complements current interest in the subjects of punk studies and animal studies while helping cement the important insights to be gained through examining the intersection of these fields.

Wasteful Theatre reimagines live performance through the lens of economy, value, excess, and waste, asking what it means to lavish resources—material, sensory, and symbolic—on audiences beyond utilitarian calculation. It examines how waste operates within the theatrical relationship between audience, performer, genre, and space, focusing on excessive deployments of value.



Drawing on scholarship in theatre studies, economics, philosophy, and performance practice, the book develops the Wasteful Theatre Equation, distinguishing waste as surplus that amplifies experience rather than squandered loss. Case studies span immersive environments, haunted attractions, escape rooms, site-specific productions, and traditional proscenium theatre, demonstrating how space, participation, sensation, and fear operate as sites of wasteful excess.



Key chapters pose practical questions for makers, reframing contracts of performance, proximity, and risk as tools for creating singular experiences. Across examples from Robert Wilson to Punchdrunk, Grand-Guignol to theme parks, the book positions waste as both disruptive and generative, showing how performance transforms by amplifying horizons of possibility.



Ultimately, it argues that wasteful excess enchants, reorienting theatre toward presence, wonder, and transformative exchange.

DesignWISE challenges the linear logic that has long shaped design practice. Too often, we move from brief to solution without pausing to understand the wider consequences of our choices or the systemic relations they affect. In doing so, we overlook opportunities for deeper, regenerative change.



This book introduces DesignWISE as a 360-degree alternative—a circular decision-making tool grounded in design thinking, systemic leadership, and indigenous wisdom traditions. Rather than progressing step by step, DesignWISE invites designers, leaders, and teams into a continuous cycle of reflection, evaluation, and renewal.



At the centre of the method is a wheel: a structure inspired by the medicine wheel, encouraging holistic awareness, multiple perspectives, and a stronger connection between inner intention and outer impact. Each phase of the wheel opens a space for introspection, imagination, and responsibility, helping us understand how our decisions resonate across people, organisations, and the planet.



DesignWISE ultimately argues that meaningful transformation begins within. By cultivating presence, curiosity, and mindfulness, we can unlock new sources of insight and move beyond conventional approaches to design. This book offers both a conceptual framework and a practical guide for anyone seeking to design with greater wisdom, depth, and planetary awareness.

The DesignWISE Collective brings together designers, thinkers, and changemakers who believe in design as a force for systemic transformation. We’re here to co-create a new paradigm for design—one that begins not with the user, but with the planet.

DesignWISE challenges the linear logic that has long shaped design practice. Too often, we move from brief to solution without pausing to understand the wider consequences of our choices or the systemic relations they affect. In doing so, we overlook opportunities for deeper, regenerative change.



This book introduces DesignWISE as a 360-degree alternative—a circular decision-making tool grounded in design thinking, systemic leadership, and indigenous wisdom traditions. Rather than progressing step by step, DesignWISE invites designers, leaders, and teams into a continuous cycle of reflection, evaluation, and renewal.



At the centre of the method is a wheel: a structure inspired by the medicine wheel, encouraging holistic awareness, multiple perspectives, and a stronger connection between inner intention and outer impact. Each phase of the wheel opens a space for introspection, imagination, and responsibility, helping us understand how our decisions resonate across people, organisations, and the planet.



DesignWISE ultimately argues that meaningful transformation begins within. By cultivating presence, curiosity, and mindfulness, we can unlock new sources of insight and move beyond conventional approaches to design. This book offers both a conceptual framework and a practical guide for anyone seeking to design with greater wisdom, depth, and planetary awareness.

The DesignWISE Collective brings together designers, thinkers, and changemakers who believe in design as a force for systemic transformation. We’re here to co-create a new paradigm for design—one that begins not with the user, but with the planet.

This is the Second Edition of the Danish-language book first published in 2024 and now out of print.

From the perspective of sublating Eastern and Western cultures and civilizations, this approach argues for the urgency of industrial civilization's transformation; based on the dimension of civilization, it explores the future trajectories of humanity, the world, and human civilization; it puts forward for the first time the concepts of “global civilization” and “great civilization” as two forms of advanced future civilizations for humanity, elucidating their core significance and practical approaches; it advocates integrating the values of global civilization into the practice of sustainable development and has devised futures research methodologies such as “China 2050 and Early Warning Systems.”



This very significantly revised new edition includes approximately 30% new or updated content. A substantially expanded chapter addresses major contemporary topics in artificial intelligence and the role of AI in education, referencing current data and theories. A new 40,000-word appendix outlines the “six waves of futures studies”, bringing together contributions from 100 thinkers and futurists from thirty-five institutions, across different periods and regions. The book retains its 26 illustrations, with 8 updated, resulting in a more comprehensive and current edition.

From a physical point of view, stone is the oldest and most persistent material and support of information in the history of humanity. 



This volume of collected essays, theoretical articles, case-studies, artistic texts and artwork portfolios aims to open a field of thought in which stone is not questioned as a materia prima of artistic work, but rather as a carrier of information.

Stone explores stone as more than a material, presenting it as a carrier of meaning and information across cultures and historical periods. It examines how contemporary artists decode, interpret, and creatively engage with stone, blending artistic practice, cultural studies, and experimental approaches. Highlighting the intersections between art and anthropology, contributions consider how human interaction with natural materials has evolved over time. It investigates the dynamic, almost living presence of stone in art, illuminating the rich interpretive potential of natural materials and the ways our current era reimagines and engages with them.

Systems Play: Art, Design and the Future of Humankind explores how contemporary artists and designers are reimagining the world in an age defined by complexity, uncertainty, and systemic interdependence. The book argues that the most compelling creative practices today engage in systems play, strategies that work with emergent patterns, multiplicity, and interconnection to make large-scale systems more legible and more open to change.

It offers an engaging look at how systems play and speculative design can illuminate social challenges and support collective action for the good of humans, animals, and plants. Idea-driven rather than practical, it presents a rich set of multidisciplinary examples that will inspire researchers and artists alike.

Through richly illustrated case studies across fields such as speculative design, immersive installation, and interactive media, it examines how creative work can: expand human perception beyond biological limits; challenge anthropocentric assumptions; reconceive personhood as relational and distributed; rethink family, community, and care as dynamic systems; and reframe our experience of time. Each chapter situates these practices within broader cultural, technological, and ecological contexts, showing how they resist reductive narratives and open space for alternative futures.

Blending critical theory with accessible storytelling, Systems Play positions experimental art and design as more than cultural commentary, providing intellectual and practical blueprints for navigating complexity. It is both a survey of emergent creative approaches and a call to take their insights seriously as tools for reimagining our shared, uncertain world.

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.

Helmbrechts Walk, 1998-2003 is a memorial testament to the forced march of 580 female Jewish prisoners at the end of the Second World War. The march began on April 13th, 1945 in order to evacuate Helmbrechts, a small satellite camp of the Flossenbürg concentration camp.



This work is a visual representation of the 225 miles that the prisoners were forced to march from the camp in Germany into the occupied portion of Czechoslovakia, then known as the Sudetenland. Susan Silas set out to retrace the path of these women—22 days in Germany and the Czech Republic, on the 53rd anniversary of the march. Silas documented this journey on video, in still images and in writings, including this book, which contains 48 archival color plates.

The images are contextualized by a diary of the author's own experiences juxtaposed with news clips drawn from the front pages of The New York Times on the same days in 1998—thus drawing a connection between the violent events of the past and those being witnessed in the present.

In addition to the originally unbound artwork, this book includes a survivor interview with Halina Kleiner, a preface by the Holocaust scholar Brett Ashley Kaplan, and a remembrance of the women who died during this march.

Inclusive Musical Theatre is a comprehensive guide that presents a research-backed curriculum and strategies for creating an inclusive and accessible musical theatre rehearsal and performance process at the high school level. It draws on the author's doctoral research and over a decade of teaching experience to provide practical tools, assessments, and process modifications to support students of all learning needs and backgrounds.

The book begins by exploring the historical context and legal frameworks surrounding special education in public schools, as well as the intersection of drama education and disability studies. It then delves into an in-depth analysis of traditional actor training methods, highlighting their ableist origins and the need for adaptations to foster radical inclusion.

The core of the text outlines a 29-week rehearsal and performance curriculum, broken into three distinct phases, that is designed to scaffold skill development, promote ensemble collaboration, and empower diverse learners. Accompanying the unit plans are detailed assignments, assessments, and grading rubrics that align with national and state arts standards. Additionally, the author provides a wealth of supporting documents, such as student contracts, production resources, and a sample warm-up guide. By championing inclusive practices rooted in the principles of Universal Design for Learning and culturally responsive pedagogy, Inclusive Musical Theatre equips drama educators with the tools to create transformative theatrical experiences for all students.

 An exciting new interdisciplinary and intercontinental volume that brings together scholars and practitioners working at the intersection of architecture, urbanism, and digital media.

Space in the Image focuses on cinematic and photographic portrayals of the built environment, from individual buildings to entire cities. It addresses a timely and relevant topic, reflecting the prominence of urbanization and the widespread use of digital audiovisual media in architecture, planning, and design. The work engages with both contemporary practice and current debates in the field.

In light of the growing ubiquity of media platforms and the immediacy of digital representation, the contributors critically examine the evolving relationship between spatial experience and its mediated forms. These inquiries are situated within the broader context of accelerating urbanization, making the book timely for architects, urban designers, planners, and media theorists alike. Rather than treating images as static records of the past, the volume interrogates their role as active participants in shaping contemporary urban life, identity, and memory.



Space in the Image offers a compelling reflection on the dynamic interplay between experience and representation at the close of the first quarter of the twenty-first century.

Lines of Inquiry: Multi-disciplinary Methodologies in Drawing and Education is a collection of essays written by researchers, scholars, and artists from nine countries around the world.



The multi-disciplinary contributors include teachers, artists, architects, psychotherapists, museum educators and curators who bring their distinct positions and experiences of using drawing in collaboration with others, in classrooms, in the community, in private practice, and as researchers interpreting and analyzing the experiences of others.The collection is organized in a way that takes the reader through a journey of what drawing is and can be; whether that is through a mapping of one’s daily route, a marking of territory, an expression of an experience, a problem-solving equation of arrows and lines, a comic, or a concept of imagined lines that demarcate power. Some contributions speak to the embodiment that drawing allows, some to learning and knowledge construction, and some to an age-old way of communicating.



The international roster of contributors provides suggestions for developing new ways of knowing, for developing empathy toward things that may lie outside our own experiences, and for seeing alternative perspectives through drawing.

Cutting Up Books - A Writing Method In Critical Thinking is an experimental exploration of writing, creativity, and knowledge-making through the radical act of cutting up books. Blending theory, practice, and art, it proposes textrapolation: a method of critical composition that uses destruction as a form of discovery.



Drawing on traditions of the cut-up, collage, and automatic writing, the book turns the materiality of text into a thinking tool, showing how breaking and reassembling language can generate new modes of understanding.



Thematically, it connects literary experimentation with philosophy, media theory, and the crisis of creativity in the age of artificial intelligence. It reconsiders authorship, education, and the function of books in a culture increasingly defined by templates, automation, and cognitive fatigue. Combining academic reflection with poetic fragments and visual-textual compositions to move between the scholarly and the personal, the analog and the algorithmic.

Over six months, Ania Malinowska dismantled over 400 books, reframing their content into 111 poetic epigrams and combining conscious methodical experimentation with the spontaneity of automatic writing. Cutting Up Books addresses the crisis of creativity in contemporary academic and cultural practices while responding to

contemporary challenges, including the crises in education and the perceived threat posed by large

language models. 

The result is both a manifesto and a manual: a hybrid text that invites readers to become practitioners. It encourages intellectual play, intuition, and embodied experimentation as ways of reanimating writing and thought. At once critical and performative, the book demonstrates how cutting up can be a method of thinking, creating, and living differently.

What can a fold be? Virtually anything and everything.

For centuries, folds and folding have captured the world’s imagination. Folds readily appear in revivals of the ancient craft of origami, amid the simplest acts of pedestrian life, within the philosophical turnings of the mind, and in art, design, architecture, performing arts, and linguistics around the world. What awaits our understanding is how deeply the fold figures into embodiment, into our very impulse to create.

This book is about folding as a vibrant stimulus for inter/trans/postdisciplinary artistic research, whether for the performative, for product realization, or simply to enliven body, mind, and spirit. Destined for artmaking—for making any art—the f/old practice etches into the very fabric of embodiment. As such, the f/old reaches outside the constraints of disciplinary silos into nice areas that embrace the unknown, with all its underlying tensions and ambiguities. In conceiving of art made differently, two seasoned facilitators Susan Sentler and Glenna Batson share the abundance of their decade-long collaboration in developing their approach to practice research in the fold. In addition to their insights, they invite eight of their collaborators to contribute, each a veteran artist of a diverse genre.

Featuring a wide variety of practice samples and images, this book reflects on a current and unique somatic-oriented arts research practice and pedagogy with an intriguing blend of interdisciplinary concern and practice.

The field of digital heritage, definable in the most elementary terms as the application of digital technologies to the practices of conservation and heritage practices, has exploded in recent years.



Today it is typical to see 3D modelling, augmented reality, virtual tours and mobile apps as part and parcel of the heritage sector in a whole variety of ways. This has been reflected in academia with a growing number of conferences and publications dedicated to these questions.



The objective of this book is to offer an interdisciplinary examination of such practices which, it is expected, will reveal more of the nuances, interplays and a wider range of interests than is found in the current literature. To that end, the book offers chapters from international scholars in several disciplines: architectural conservation, archaeology, cultural tourism, urban studies and photography; heritage, film, game, museal studies, and scenography.



Their work deals with three broad areas of activity in the digital heritage field that this book defines as the ‘digital politics of conservation’; technology as a heritage ‘storytelling’ device; and digital technologies as tools to create ‘virtual models of the past’.

The book argues that both the Republican and the Democrat political parties are responsible for the decline of democracy in the United States. It premises objective evidence of how the current political crisis in the U.S. in particular, and in the West in general, is a result of the disregard of the Greeks by the U.S. Constitution as well as the gradual withdrawal of the Classics from our educational system. The book concludes that the current state of affairs leads to a new form of totalitarianism.

The core argument of this book is that the current political unrest in America and the West is ultimately traceable to the utter failure of Western education. The purging of the Greeks from our schools with the masquerade that was modernity, combined with a constitutional anti-intellectualism in America, has bred generations of Western citizens who cannot think. In the absence of human thought market ideologies have enjoyed a long leash to establish as incontestable the idea that any existential proposition alternative to their own is nothing but an arrogant desire to redesign life itself. In our “Age of Trumpism,” where President Trump is summoned to check uncritical progressivism, and where technoligarchs have availed themselves to either side, stupefied electorates must choose from either a preanthropic or a metanthropic future.



In the absence of any anthropic constancy, either one of the alternatives are served by unfettered encroaching technologies that entail forms of totalitarianism as never before. It may be already too late, this book argues, but to bring back human thought towards the possibility of democracy and freedom, is to assess our situation out of Heidegger’s phenomenology and the metaphysical objectivity of Greek tragic art.

Human Theatre: The Energetic Alchemy of the Performer is a practice-based, interdisciplinary exploration of embodied performance, presence, and the energetic body. Drawing from physical theatre, somatics, trauma-informed practice, and voice-body integration, the book introduces Human Theatre, a method centered on the DEE cycle—Dynamis (potential), Energeia (action), and Entelecheia (transformation). It invites performers to move beyond imitation and toward energetic authenticity through breath, movement, and vulnerability.

The book weaves theory, testimony, and exercises to support actors, dancers, and educators seeking deeper connection with their bodies and audiences. It engages traditions from Lessac Kinesensics, flamenco, clown, Commedia dell’Arte, and contemporary somatic techniques. Core themes include embodiment, presence, dissociation, trauma, and the poetic role of silence and gesture in storytelling.

Written with both artistic rigor and emotional honesty, Human Theatre is a vital resource for performers, theatre-makers, and researchers interested in the intersection of performance, healing, and human truth. It affirms that performance is not only an artistic act but a deeply human one—an alchemical space where energy becomes expression and transformation begins.

This collection explores the dynamic place of Muslim visual and expressive culture in processes of decolonization across the African continent. Presenting new methodologies for accentuating African agency and expression in the stories we tell about Islamic art, it likewise contributes to recent widespread efforts to “decolonize” the art historical canon.

The contributors to this volume explore the dynamic place of Islamic art, architecture, and creative expression in processes of decolonization across the African continent in the twentieth and twenty-first centuries. Bringing together new work by leading specialists in the fields of African, Islamic, and modern arts and visual cultures, the book directs unprecedented attention to the agency and contributions of African and Muslim artists in articulating modernities in local and international arenas. Interdisciplinary and transregional in scope, it enriches the under-told story of Muslim experiences and expression on the African continent, home to nearly half a million Muslims, or a third of the global Muslim population.



Furthermore, it elucidates the role of Islam and its expressive cultures in post-colonial articulations of modern identities and heritage, as expressed by a diverse range of actors and communities based in Africa and its diaspora; as such, the book counters notions of Islam as a retrograde or static societal phenomenon in Africa or elsewhere. Contributors propose new methodologies for accentuating human agency and experience over superficial disciplinary boundaries in the stories we tell about art-making and visual expression, thus contributing to widespread efforts to decolonize scholarship on histories of modern expression.

A comparative study of the politics and production processes of television drama in France and in Britain during a formative historical moment for communication systems. This juxtaposition reveals surprising similarities in the intentions and achievements of practitioners in this expanding television field in Britain and France during the 1950s and 1960s.



The post WW2 era marked a substantial shift in socio-political structures and organisation in both countries within a context of change and possibilities for innovative approaches. This study reveals internal struggles within the French and British institutions controlling broadcasting as crucial determinants in the background decision making which constitutes the focus of the study. Analysis of those events indicates how creative initiatives with a social class perspective can penetrate the threads of communication control in a new system, prior to the consolidation of all the determinants of prevalent bureaucratic structures.



This book foregrounds how socially conscious communication practitioners deployed methods intended to retain control of style and meaning in productions in the face of management scepticism and, in some cases, direct interference. The text draws upon oral history contributions plus research documentation and archive material from within the Institutions. Case studies are presented across national and cultural boundaries. These are reinforced by authentic voices and testimonies from personal interviews which I carried out with directors and writers in both Britain and France.



The book provides a unique insight into active engagement, and socio/political judgements used by writers, editors, producers, and directors in reaching out to what was a rapidly expanding audience.

What can post-catastrophe films tell us about our current real-world circumstances?

This book proposes that a new sub-genre of film called ‘post-catastrophe’ is emerging that displays narratives directly analogous to our current predicament of runaway climate disruption. Post-catastrophe film sits in the space between blockbuster disaster movies that use scenes of destruction to blow the world up and disrupt the flow of humanity and post-apocalyptic films where a version of society has formed in the ashes of the disaster.

In these narratives, the characters are thrown into a world of unsettling circumstances in which they have to adapt and strive for survival and reimagine the world as it changes around them. We face a similar predicament."

More than half a century after his death, Soviet filmmaker Aleksandr Rou remains a cinematic icon across Russia and other countries of the former Soviet Union and Eastern Europe. Dubbed ‘King of the Fairy Tales’ and ‘The Main Storyteller of the Country’, Rou revolutionized Soviet fantasy and fairy-tale cinema during a remarkable directorial career spanning from 1938 to 1972.

Deftly navigating the shifting ideological landscapes of the Stalin, Khrushchev and Brezhnev eras, Rou created an idiosyncratic succession of weird, witty and wonderful films that celebrated and perpetuated the nation’s folkloric traditions while constantly refreshing them for new generations of appreciative young audiences. In English-speaking countries, by contrast, Rou’s films remain relatively little known. With streaming platforms now increasing their accessibility to western viewers, this book provides a timely introduction to his unique and exhilarating blend of mirth and magic.

'This book takes us on a journey through the fairy-tale films of Alexander Rou, one of the Soviet Union's most prolific and inventive filmmakers of the genre. Deborah Allison's always engaging and enjoyable writing provides the cultural and technical contexts as she reveals the features that make up Rou’s personal style, whilst also highlighting the narratives, actors and special effects in Rou's work. To put it in fairy-tale language: this is a beautifully woven carpet, whose intricate pattern emerges as we read and takes us on a flight into Rou’s fairy-tale world.'

–Birgit Beumers, Professor emerita in Film Studies, Aberystwyth University

Presents a diverse range of perspectives on contemporary superhero scholarship. It links in-depth close readings of central texts of the superhero discourse from a variety of media (comics, TV, film) with larger societal and cultural discourses such as cross-medial, meta-textual and more general intersections and negotiations between the figure of the superhero and culture.



The book explores various functionalizations of superheroes such as Batman, Iron Man or Watchmen within society, analysing how superheroes reflect and problematise ideology, the military industrial complex, public and private responsibility. Processes of identity construction are analysed by looking at the superheroes’ secret identity and the notion of masking. Furthermore, cultural and personal grief and trauma in relation to such discourses as race and politics are investigated.

The book considers the regulatory interventions that have been introduced for new media forms in Africa. This includes regulation covering digital broadcasting, social media and the wider digital media. Emphasis is placed on the regulation of new media, including digital media legislation, internet bans, regulation of online harms, data infrastructure, and digital policymaking. It presents new ideas on media and digital regulation in the Global South, focusing on the review, analysis, and critique of interventions in Africa.

Detailed discussion of country case studies in the Southern African Development Community (SADC), Economic Community of West African States (ECOWAS), and Common Market for Eastern and Southern Africa (COMESA) regions highlights trends, patterns, contradictions, and dilemmas in policy and regulation of new media.

The study of men’s fashion has evolved from an emerging subject to a dynamic and growing field, intersecting with critical conversations on gender, race, sexuality, disability, colonialism, and globalization.



The Handbook of Men’s Fashion pushes beyond conventional narratives by centering three guiding approaches: decentralizing and decolonizing men’s fashion studies, global viewpoints, and intersectionality. With 34 chapters from fashion and dress scholars, the collection offers a uniquely progressive perspective on the field’s development.



Divided into six sections—Theoretical Perspectives, People and Bodies, Places, Objects and Products, Promotions and Business, and Popular Culture—the book examines how masculinity is fashioned, contested, and expressed across time and space. Topics range from national dress and subcultural style to queer and disabled masculinities, luxury branding, and digital fashion communities. By centering histories and communities that have been marginalized in previous scholarship, the chapters collectively expand the boundaries of men’s fashion studies.



Rather than providing a definitive account, The Handbook of Men’s Fashion serves as an invitation to rethink the field, interrogate absences, and imagine new possibilities. It is an essential resource for scholars, students, and industry professionals invested in the past, present, and future of men’s fashion.

The main audience for this book is academic, but it will also appeal to fashion practitioners, curators, and cultural critics, and to general readers interested in the history, culture, and meaning of men’s fashion and dress.

Explores how mobile media has changed the migration experience, focusing on Central American migration to the United States, which represents the largest migratory corridor in the world. The book analyzes the socio-technical affordances of smartphones and examines the communication practices that migrants engage in while utilizing mobile media. It demonstrates the mutual influence between media technologies and human mobility.

The primary objective is to illustrate, through firsthand accounts from migrants, how technology has transformed migration trends and experiences, as well as how the migrant community has shaped the utilization of technology. A key contribution of this work is highlighting the agency and creativity that migrants exercise when interacting with media technology, as they establish their own practices and rituals to meet their needs.

Through a diverse range of ethnographic data, interviews, maps, and images, it demonstrates that contemporary migration is a mediated experience. The narrative begins by exploring how smartphones influence and shape the decision to migrate, the journey itself, experiences during transit and navigation, as well as life in migrant shelters and within the diaspora.

This volume documents the current scholarly and artistic practices surrounding comparison and globalisation in theatre in five geographic locations that imagine themselves as global centers of knowledge exchange. 

Explores the notion of a heteroglobal approach to understand global circulation of performance. This approach starts with the local theoretical and philosophical frameworks from five imagined centres and then considers the knowledges about art and globalisation that emerge from a combination of these concepts. These “imagined centers”, each containing a rich array of discourses, are South Africa, the U.S. and U.K., China, Japan, and Nigeria.



By considering “comparison” and “intercultural theatre (to use culturally specific names for a range of pursuits) as practiced in each of these local contexts as they theorize the global, this volume advances a more globally-inflected approach to studying globalization through a theoretically pluralistic matrix of different modes of comparison and interculturalism.

Reimagines the human relationship with technoscience and environment, offering fresh, non-hierarchical and ethical perspectives beyond dystopian futures.



Exploring the evolving relationship between the human body, technoscience, and the environment, Chimera introduces the concept of the “expanded body” as a transdisciplinary meeting point between art, design, technology, and science. Through a critical examination of developments such as biomechanics, prosthetics, body hacking, and biotechnology, the book investigates how these innovations alter our bodily, sensory, and cognitive capacities. Providing a unique methodological systematization of the main ecological and posthuman philosophy theories, it argues for a new framework in which the human is deeply entangled with both human and nonhuman elements in a shared environment.



Building on ideas from both past and present—ranging from twentieth-century research to current discussions in neuroscience, design, and media theory—Chimera offers a thoughtful response to common fears about futures driven by technology and science. Instead of imagining a world dominated by machines or centered only on human needs, the book imagines fluid, queer, and nonhierarchical relational models between human bodies and the environment. Essential reading for scholars and students in contemporary art, new media, science and technology studies, and environmental and posthuman studies, Chimera also speaks to a wider audience interested in how technology and science is reshaping our understanding of life, identity, and ethical coexistence.

Over the past decade, Tiny Housing has become something of a viral sensation in the US. From Instagrammable enclaves for young professionals to vast municipality-supported schemes seeking to address homelessness, tiny house sites are proliferating across the country.



This book takes a look at life inside the ‘Tiny House Nation’, shining an intimate light on a phenomenon widely celebrated in the mainstream media. The book presents textured narrative accounts from and striking images of Tiny Home residents, their homes and communities, while analysing the broader socio-economic structures shaping their lives. In so doing, it paints a compelling and complex picture of a trend at the crossroads of several key social, cultural and economic shifts, at a pivotal moment for America’s housing future.

Fundamentally, this is a book about paradoxes. The paradox of tiny housing offering freedom from the constraints of capitalism, whilst at the same time remaining embedded within capitalist systems. The paradox of those who ‘go tiny’ both choosing an alternative lifestyle, and those who are pushed into tiny housing as a consequence of limited choice. The paradox of Austin, Texas, as both a countercultural enclave and hyper-capitalist tech haven. And the paradox of tiny house ethoses in Austin, as both centring community and shared assets, and individualist libertarianism. These paradoxes do not necessarily sit in opposition to one another, but are all bound up in the complexity of what tiny housing has to offer as an alternative way of living.

Despite its unattainability for all but the most privileged, the American Dream - the home-owning society, the suburban bliss, the white picket fence - remains emblematic of the residential Good Life. But in the decades since the turn of the millennium the dream has been shrunk down, expectations of a decent home literally reduced. Whilst for some this has led to forms of freedom and fulfilment, it has also contributed to the normalisation of cities so outrageously expensive that all people can afford are miniature homes on the urban periphery. As this book shows, both impacts of tiny housing are equally true, and one does not cancel out the other. Tiny housing embodies an important societal crossroads. In some respects, it offers an alternative to the prevailing housing status quo. In others, it demonstrates what options have already been taken away from us.

from the Introduction



‘In the rest of this book, we’ll lead you through our exploration of tiny housing in Texas. We’ll start, in the next chapter, by introducing some of the places and people we encountered on our travels to set the scene. Then, the ‘pathways’ chapter examines the various conditions and journeys through which people end up living tiny. As you’ll see, our attempt to produce a diagram of pathways to tiny living escalated into the production of a fully blown board game. We describe this diagrammatic board game to show the complex and nuanced personal and structural circumstances that lead people into tiny housing. From there, we go into three empirical chapters, focusing on economies of tiny living, the materiality of tiny housing as domestic spaces, and community culture. We then draw the book to a close, and speculate about what tiny housing means for the future of domestic life, especially in relation to the American Dream.



‘Throughout the book our descriptions are accompanied by photographs taken by Cian Oba-Smith, who accompanied us on our first trip to Texas in 2022. The hype around tiny housing is undoubtedly driven, in large part, by the aesthetic cultures surrounding it. Tiny homes are the picturesque, boutique, upmarket cousin of mobile homes and trailers. They are distinguished from these other types of small housing, as we’ll argue in this book, specifically by their aesthetics. Anyone who ventures into the world of tiny housing for more than five minutes will see how thick this aesthetic culture is. From beautifully curated Instagram pages, to countless coffee table books, to Etsy shops dedicated to crafted tiny house merchandise, a key part of living tiny is enjoying and embracing its aesthetics. By working with Cian we were able to focus (literally) on these aesthetic dimensions of tiny housing. However, we were also able to capture some of what’s not presented in promotional tiny house materials; the constraints, the challenges and the complexities that come along with the joy and the freedom. We’re positioning this book as something of a disrupted coffee table book. On an initial flick through it might not look too different to the photography books that valorise tiny living, but you’ll already know, if you’ve read this far, that our approach is more nuanced. Our attempt has been to expose the ‘real’ Tiny House Nation. Not to attack it, not to deny its beneficial impacts for a huge number of people, but to inject some nuance into the debate so that we can take forward the positives of tiny living without normalising the negatives.’

Over the past decade, Tiny Housing has become something of a viral sensation in the US. From Instagrammable enclaves for young professionals to vast municipality-supported schemes seeking to address homelessness, tiny house sites are proliferating across the country.



This book takes a look at life inside the ‘Tiny House Nation’, shining an intimate light on a phenomenon widely celebrated in the mainstream media. The book presents textured narrative accounts from and striking images of Tiny Home residents, their homes and communities, while analysing the broader socio-economic structures shaping their lives. In so doing, it paints a compelling and complex picture of a trend at the crossroads of several key social, cultural and economic shifts, at a pivotal moment for America’s housing future.

Fundamentally, this is a book about paradoxes. The paradox of tiny housing offering freedom from the constraints of capitalism, whilst at the same time remaining embedded within capitalist systems. The paradox of those who ‘go tiny’ both choosing an alternative lifestyle, and those who are pushed into tiny housing as a consequence of limited choice. The paradox of Austin, Texas, as both a countercultural enclave and hyper-capitalist tech haven. And the paradox of tiny house ethoses in Austin, as both centring community and shared assets, and individualist libertarianism. These paradoxes do not necessarily sit in opposition to one another, but are all bound up in the complexity of what tiny housing has to offer as an alternative way of living.

Despite its unattainability for all but the most privileged, the American Dream - the home-owning society, the suburban bliss, the white picket fence - remains emblematic of the residential Good Life. But in the decades since the turn of the millennium the dream has been shrunk down, expectations of a decent home literally reduced. Whilst for some this has led to forms of freedom and fulfilment, it has also contributed to the normalisation of cities so outrageously expensive that all people can afford are miniature homes on the urban periphery. As this book shows, both impacts of tiny housing are equally true, and one does not cancel out the other. Tiny housing embodies an important societal crossroads. In some respects, it offers an alternative to the prevailing housing status quo. In others, it demonstrates what options have already been taken away from us.

from the Introduction



‘In the rest of this book, we’ll lead you through our exploration of tiny housing in Texas. We’ll start, in the next chapter, by introducing some of the places and people we encountered on our travels to set the scene. Then, the ‘pathways’ chapter examines the various conditions and journeys through which people end up living tiny. As you’ll see, our attempt to produce a diagram of pathways to tiny living escalated into the production of a fully blown board game. We describe this diagrammatic board game to show the complex and nuanced personal and structural circumstances that lead people into tiny housing. From there, we go into three empirical chapters, focusing on economies of tiny living, the materiality of tiny housing as domestic spaces, and community culture. We then draw the book to a close, and speculate about what tiny housing means for the future of domestic life, especially in relation to the American Dream.



‘Throughout the book our descriptions are accompanied by photographs taken by Cian Oba-Smith, who accompanied us on our first trip to Texas in 2022. The hype around tiny housing is undoubtedly driven, in large part, by the aesthetic cultures surrounding it. Tiny homes are the picturesque, boutique, upmarket cousin of mobile homes and trailers. They are distinguished from these other types of small housing, as we’ll argue in this book, specifically by their aesthetics. Anyone who ventures into the world of tiny housing for more than five minutes will see how thick this aesthetic culture is. From beautifully curated Instagram pages, to countless coffee table books, to Etsy shops dedicated to crafted tiny house merchandise, a key part of living tiny is enjoying and embracing its aesthetics. By working with Cian we were able to focus (literally) on these aesthetic dimensions of tiny housing. However, we were also able to capture some of what’s not presented in promotional tiny house materials; the constraints, the challenges and the complexities that come along with the joy and the freedom. We’re positioning this book as something of a disrupted coffee table book. On an initial flick through it might not look too different to the photography books that valorise tiny living, but you’ll already know, if you’ve read this far, that our approach is more nuanced. Our attempt has been to expose the ‘real’ Tiny House Nation. Not to attack it, not to deny its beneficial impacts for a huge number of people, but to inject some nuance into the debate so that we can take forward the positives of tiny living without normalising the negatives.’

The book presents an interpretation of neo-noir filmmaking through the lens of economics, based on readings of central neo-noir works from the noir revival of the early 1970s to recent films. Analyzing key themes and figures of neo-noir – desire and betrayal, corruption and alienation, the private detective and the femme fatale – the project reads neo-noir filmmaking as a privileged site for the expression of anxieties around work, money, trust, and exchange. Neo-noir filmmaking embodies a profound reflection on the hollowing-out of economic and social life, the collapse of trust, the erosion of institutions, and fears regarding legacy and identity, developments that have undermined the promise of American life in the long twilight of the American dream since the end of postwar prosperity.



Aimed at the many scholars and faculty who study and teach film noir and neo-noir at levels from high school to post-graduate. It will appeal as well to the extensive community of cinephiles enthusiastic about noir, those who attend “Noirvember” screenings at repertory movie houses, who read the websites of the Film Noir Foundation or Eddie Muller (the self-styled “Czar of Noir”), and participate in discussions of noir and neo-noir filmmaking on online forums.

The Intellect Handbook of Adult Film and Media collects 36 chapters in six broad sections related to the study of adult film and media: History; Methodologies and Pedagogies; Representations; Production, Spectatorship, and Distribution; Area Studies and Transnationalism; and Law, Health, Policy, and the State. These chapters offer a survey of the discipline, with overviews of the primary literature, important histories, and essential arguments. The Handbook is designed as a reference work and resource for emerging scholars and educators teaching undergraduate courses on film, media, gender, sexuality, or porn studies.



This handbook fills an important gap within cinema and media studies by examining sexually explicit media content and the context for its circulation, production, consumption, and broader reception. Through these essays and the extensive body of literature they engage with, it aims to support the continued growth of adult film and media studies.

DJing in New York depicts the initial learning processes of a group of underground Electronic Dance Music club DJs in New York and follows them throughout a portion of their career to gain insights as to what and how these popular musicians learn, develop careers, and thrive.  



What unfolds is a story of a social process of musical learning in which DJs develop strong networks of friendship to initially learn their craft and later on to navigate the perils of nightlife and build careers. This type of situated learning is dependent upon friendships and is intrinsically linked to the dynamic context of an underground clubbing scene in New York. Enculturation in this nightlife scene, access to professional performers, and strong friendships distinguish these musical learners among popular musicians.



Because these features add a new dimension of understanding to the learning practices of popular musicians, this book is of primary interest to music educators, particularly those interested in popular music education and community music. It is also relevant to individuals interested in popular music studies, especially scholars of electronic dance music culture.

How can arts-based learning shape the future of education in Ireland? 

Arts Education in Ireland dissects this question using a rich collection of research and case studies spanning early childhood, primary, secondary, and higher education. Through an examination of the evolving role of the arts in the Irish curriculum, this volume showcases how visual arts and interdisciplinary collaborations between educational and cultural institutions are transforming teaching and learning. With contributions from educators, researchers, and artists, this collection focuses on key themes such as teacher identity formation, student engagement, and the impact of creative pedagogies in developing twenty-first-century skills. It also highlights innovative programs like the Writers in Schools scheme, offering insights into how the arts foster critical thinking and deeper learning experiences.

Accessible yet deeply researched, this book is an urgent reference for arts educators, students, and researchers worldwide. Whether you are new to arts-based learning or seeking unique perspectives on interdisciplinary education, Arts Education in Ireland provides both theoretical and practical insights into the power of the arts in shaping meaningful learning experiences.

This anthology explores the current evolution of interactive storytelling across digital as well as physical spaces by examining how games, digital narratives, and participatory art can reshape creative expression and learning at fundamental levels.



The contributors propose that interactive fiction is best examined by combining social, literary, and technical analyses together. Used independently, each modality provides an insufficient picture of the deeply merged social, technical, and artistic media environments we currently inhabit. We focus instead on the nature of the social interactions involved when engaging in digital storytelling, emphasizing that an interactive narrative is perpetually constructed and reconstructed each time it is experienced.



The collection provides in depth analysis, organized into three distinct sections, the first two based on the key modalities of alternate realities and digital interactive fiction. The third section then provides an important political critique of gaming ideologies. Contributors with expertise and experience in each section topic provide diverse and timely analyses on how interactive narratives function in educational contexts, community engagement, and human-machine collaboration. The authors also investigate both theoretical frameworks and practical applications, from live-action role-playing to AI-assisted writing, while considering the significant social and political implications of gaming culture in general.



The collection's strength remains on its unique bringing together diverse perspectives from game designers, educators, artists, and theorists to examine how new forms of storytelling emerge at the intersection of analog and digital realms, with particular attention to the role of play and interactivity in contemporary learning environments.

Transformative Professional Learning in Arts Integration invites educators and artists to name and center dilemma, discovery, and learning at the core of their collaborative efforts to improve the learning culture of classrooms through the arts. A dilemma comes in many forms.



Personal and programmatic dilemmas are often the result of a rupture between personal belief and the requirements of a system. The rupture - or dilemma - seeds a desire for something new, something better. However, as Queensland Aboriginal activists remind us, we must address our own bias and power in relationship to those we presume to support: "If you have come to help me, you are wasting your time; but if you are here because your liberation is bound up with mine, then let us work together.” This text, therefore, shares the stories of individuals working towards collective educational improvement and change.



It is a story of failure and possibility, about individuals “bound up with” with each other, harnessing the power of the arts, in the common effort to make education more just and equitable for all.

Drama for Schools and Beyond: Transformative Learning Through the Arts, tells the story of twenty years of research and practice grounded in the Drama for Schools (DFS) professional development learning model based at The University of Texas at Austin, USA.



This book offers a critical look at the evolution of Drama for Schools through the learnings of its leaders and participants. It also gathers stories from partners across the globe who have adapted and built upon this model at their own sites. It is a primer for how to centre teacher and student inquiry and learning at the core of educational improvement. It is an invitation for teachers, administrators, and researchers to address their own bias and power in relation to those they aim to support.



Throughout, the authors show that by integrating the arts across education, new networks of possibility can be grown, to create a more just and equitable education for all.

Describes the transformations we have witnessed due to the development of nuclear science and technology, accelerating policies interdependent on energy, and military procedures that have led us to make a provocative claim that, in many respects, planet Earth is getting closer to the embodiment of the project we call Nuclear Gaia.

The book examines media archives and online platforms that recover data and memory and shape community knowledge of nuclear events from the distant and nearer past. These are the pieces of evidence that we are on the eve of creating new forms of social justice, carried out by open-source investigations (OSINT) groups, independent researchers, artists, media makers, activists, local communities, and civic groups.



Thus, analysing nuclear processes and their social and environmental consequences is no longer the exclusive domain of experts, scientists, politicians, and the military. The authors hope that such communities’ practices and decolonial discourses, combined with the critiques within our methodology as post-nuclear media studies, can also change the fate of nuclear industry victims by creating media space to discuss and regain justice as socially sanctioned and shared rules for understanding and using nuclear energy both in past and the future.

Provides new perspectives on the increasingly complex relationships between media forms and formats, materiality, and meaning. Drawing on a range of qualitative methodologies, our consideration of the materiality of media is structured around three overarching concepts: form – the physical qualities of objects and the meanings which extend from them; format – objects considered in relation to the protocols which govern their use, and the meanings and practices which stem from them; and ephemeral meaning – the ways in which media artefacts are captured, transformed, and redefined through changing social, cultural, and technological values.

Each section includes empirical chapters which provide expansive discussions of perspectives on media and materiality. It considers a range of media artefacts such as 8mm film, board games maps, videogames, cassette tapes, transistor radios and Twitter, amongst others. These are punctuated with a number of short takes – less formal, often personal takes exploring the meanings of media in context.



We seek to consider the materialities which emerge across the broad and variegated range of the term’s use, and to create spaces for conversation and debate about the implications that this plurality of material meanings might have for the study of study of media, culture, and society.

The book gives prominence to the way the concept of communication has been deployed within philosophical debates. It shows how philosophers have adopted this concept in their discussions on the issues of intersubjectivity, community and the ethics of dialogue.

Although mainstream philosophers do not, as yet, consider the philosophy of communication as a branch in its own right, instead subsuming it within the philosophy of language as pragmatics, the concept of communication is broader than that of language. This book aims to develop the relationship between communication and philosophy further.



Mangion hopes to encourage others to conduct further research by aligning communication with questions that are of a philosophical nature.

This book explores the consequences of unbridled expansion of neoliberal values within India through the lens of popular film and culture. The focus of the book is the neoliberal self, which, far from being a stable marker of urban, liberal, millennial Indian identity, has a schizophrenic quality, one that is replete with contradictions and oppositions, unable to sustain the weight of its own need for self-promotion, optimism, and belief in a narrative of progress and prosperity that has marked mainstream cultural discourse in India. The unstable and schizophrenic neoliberal identity that is the concern of this book, however, belies this narrative and lays bare the sense of precarity and inherent inequality that neoliberal regimes confer upon their subjects.

The analysis is explicitly political and draws upon theories of feminist media studies, popular culture analyses, and film studies to critique mainstream Hindi cinema texts produced in the last two decades. Rele Sathe also examine a variety of other peripheral ‘texts’ in her analysis such as the film star, the urban space, web series, YouTube videos, and social media content.

Architectural expressions resonant with Islamic traditions appear in diverse modes across the Americas, from Andalusian-inspired colonial patios in Peru to the modern and contemporary patronage of immigrant communities in the United States and Canada. This volume examines the multiple manifestations of Islamic architecture that permeate the region’s built environment to invite an expanded framing of this architectural legacy via a hemispheric consideration of aesthetics, narrative, and patronage.

Chapters consider a broad range of topics from the migration of aesthetic traditions and construction techniques tied to the architectural forms of the Islamic world in the colonial “New World,” to the direct contributions of modern and contemporary migrants in shaping a collective identity and the built environment.

By placing in productive dialogue sites that represent Islamic and Islamicate architecture across North and South America – two areas outside of the traditional conceptions of the Islamic world– this volume bridges transregional and transcultural gaps in the current literature.

This collection was written by educators who are engaging in multi- and interdisciplinary education and are led by curiosities encompassing the collaborative nature of cognitive and kinesthetic engagement and awareness.

The chapters are designed as sources for inspiration, replication, and adaptation. They are a place to start or continue. Each chapter, in varying modalities, addresses interdisciplinary course development and implementation in institutions of higher education. The common themes that emerge in the collection include navigating administrative systems and solving the challenges encountered when crossing departments or colleges, whether it be regarding listing of courses or the intricacies of course load on each professor.

Many chapters also provide detailed information on the nuts and bolts of the specific course or courses taught, including syllabi, lesson examples, and both formal and informal assessments implemented. Multiple case studies are included in this collection, with many chapters providing specific examples of students’ work.

Contributors candidly offer discussions of failures and successes of their interdisciplinary collaborations, be it in course design, lesson planning or complications brought in by unforeseen pandemics. Most chapters end with a section entitled ‘Lessons learned’, where experiences from the field provide opportunities for growth and continued exploration.

Readers can follow the book from cover to cover or dip in, finding the chapters that serve a particular project or teaching endeavour. The varying writing styles and topics are in direct relationship with the exact nature of the inspiration for this text. The over-arching themes of collaboration (diverse backgrounds, ideas, and skill sets, multidisciplinarity, and interdisciplinarity) are the consistent touchstones that create a thematic self-guided journey of exploration through the book.

The chapters offer readers guidance and encouragement to implement some of the approaches described, and inspiration to forge their own paths in the world of multi- and interdisciplinary teaching and research. The depth and breadth of collaborative possibilities are exciting, and the editors’ goal is to spark further experimentation.    

An excellent and practical resource for any educator hoping to teach his or her subject matter through an interdisciplinary approach and for all courses revolving around topics of pedagogy. The key audience will be graduate students, and teachers in all stages of education from primary to higher education. 

The annual Beijing Film Academy Yearbook highlights the best academic debates, discussions and research from the previous year, as previously published in the highly prestigious Journal of Beijing Film Academy. This volume brings together specially selected articles, appearing for the first time in English, to bridge the gap in cross-cultural research in cinema and media studies.

The book is the latest in the Intellect China Library series to produce work by Chinese scholars that have not previously been available to English language academia. Covering the subjects of film studies, visual arts, performing arts, media and cultural studies, the series aims to foster intellectual debate and to promote closer cross-cultural intellectual exchanges by introducing important works of Chinese scholarship to readers.

A review of dance education research methodologies with examples and exemplars from the field and an important resource for dance students, professionals, and advocates.



The editors recognized the need for a book of this type – one that would not only provide examples of a variety of dance education research projects, but also present a broad look at methodologies. In addition, the book would not only focus on Dance Education research in the U.S, but more broadly with examples of dance research from several different countries. The curated book includes the voices of both seasoned professionals and newer scholars in the field, with examples of dance research from a number of different countries. The contributions represent several countries including Korea, South Africa, United States of America, Jamaica, India, United Kingdom, Brazil, and Slovenia, underscore the global relevance and significance of research in dance education.

This book is divided into 5 parts. The first part focuses on dance education research and methodologies and is divided into three sections. With an introduction by Jill Green, the chapters that follow provide an overview of research types including the more traditional, qualitative, quantitative and mixed, and other methods such as portraiture and a/r/tography.



Part II, introduced by Lynnette Young Overby, includes examples of dance education research that incorporate qualitative, quantitative, and/or mixed methods. Three sections covering dance education research applications in the areas of history and culture, dance teaching and choreography, and community based research follow.



Part III of the Handbook of Dance Education Research provides insight into dance education that takes place in several countries. This part is introduced by Peter Cook, Associate Deputy Chancellor, Southern Cross University, Australia. The collection of chapters within this part of the Handbook of Dance Education Research provides snapshots of research practices from contrasting international areas, and with a variety of approaches and paradigms.



The final Part IV includes chapters focused on Social Justice dance education practice and research. This part is introduced by Alfdaniel Mivule Basibye Mabingo, Makerere University, Uganda. These chapters push the boundaries of dance education research to promote meaning and social change. They provide substantive examples of the impact dance education research can have in response to social and cultural issues.



This book will be a key resource for university students, professors, practitioners and policy makers in organizations and in school systems. It will inspire future dance education researchers to conduct research that is collaborative, impactful, inclusive and diverse– research that will solidify the place of dance as an integral part of each person’s education.

A collection of performance texts ranging from orthodox plays to group-devised texts. The book traces from most recent to earliest Schechner's work as a "writer" and a "wrighter" -- the author of plays and the conceptualizer and leader of teams of artists. The book includes several never before published early texts as well as updated versions of well-known productions such as "Dionysus in 69," "YokastaS," "Makbeth," and "Imagining O." The earliest texts are from the 1950s the most recent from 2014.

This book brings together for the first time Schechner’s original plays and adaptations: Imagining O, YokastaS, Faust/gastronome, The Prometheus Project, Richard's Lear, Commune, Makbeth, Dionysus in 69, The Blessing of the Fleet, Briseis and the Sergeant, "Lot's Daughters," and "The Last Day of FK." The scripts engage with perennial canonical themes, such as Oedipus and Faust, and topical issues of our times. They embody Schechner’s world-famous environmental theatre approach. Marta Minier's general introduction and Schechner's introductions to each play, set the scripts in their intellectual and production context. The book complements Schechner’s other books which include, Performance Studies: An Introduction (now in its 4th ed.), Performance Theory, Between Theater and Anthropology, The Future of Ritual, and Performed Imaginaries.

The annual Beijing Film Academy Yearbook highlights the best academic debates, discussions and research from the previous year, as previously published in the highly prestigious Journal of Beijing Film Academy. This volume brings together specially selected articles, appearing for the first time in English, to bridge the gap in cross-cultural research in cinema and media studies.

The book is the latest in the Intellect China Library series to produce work by Chinese scholars that has not previously been available to English language academia. Covering the subjects of film studies, visual arts, performing arts, media and cultural studies, the series aims to foster intellectual debate and to promote closer cross-cultural intellectual exchanges by introducing important works of Chinese scholarship to readers.

Ken Gonzales-Day’s work confronts the role of the visual in conveying history or in history’s absences, including those bodies and spaces deliberately erased, forgotten, or never acknowledged. As illustrated and discussed in Ken Gonzales-Day: History’s “Nevermade,” his photography, films, drawings, and paintings interrogate race and power, questioning how bodies are seen, rendered, or made invisible. His art moves between presence and absence, compelling viewers to confront their own position in relation to systems of oppression and representation.

This volume, accompanying the exhibition of the same name, offers the first comprehensive study of Gonzales-Day’s practice. Organized around his major series, sections of the book—including Rethinking History, Collecting Race, Forging Community, and Redrawing Boundaries— explore how his work engages with archives, bodies, museums, and public space to challenge institutional narratives. Through critical analysis and illustrated throughout, Ken Gonzales-Day: History’s “Nevermade” illuminates the profound political and theoretical stakes of his art.

Essential reading for students, scholars, and practitioners in art history, photography, museum studies, American history, and decolonial and queer studies, this book is a testament to the power of art to reckon with the past and imagine new futures.