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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.