Westminster School of Arts

Bate, David 2005. Editorial. History of Photography. 29 (2), pp. 97-99. https://doi.org/10.1080/03087298.2005.10441362

Goddard, M. 2005. The Surface, the Fold and the Subversion of Form: Towards a Deleuzian Aesthetic of Sobriety. Pli: Warwick Journal of Philosophy. 16.

Goddard, M. 2005. 68-77-99 and Beyond: Bifo's Futural Thought. Cultural Studies Review. 11 (2), pp. 49-56. https://doi.org/10.5130/csr.v11i2.3638

Goddard, M. 2005. Diagram for a Transversal, Molecular Feminism? Women: A Cultural Review. 16 (3), pp. 271-283. https://doi.org//10.1080/09574040500321339

Urwin, P.J., Jack, G., Sturgis, P. and Di Pietro, G. 2005. Measuring the returns to networking and the accumulation of social capital: are the yuppies networking? ESPE 2005: XIX Annual Conference of the European Society of Population Economics. Paris, France 16-18 Jun 2005

Urwin, P.J., Jack, G., Sturgis, P. and Di Pietro, G. 2005. Identifying the returns to networking and social capital accumulation. Whither Social Capital? Past, Present and Future, An International Conference. London, UK 06-07 April 2005

Urwin, P.J., Jack, G. and Lissenburgh, S. 2005. The impact of the National Minimum Wage in low wage sectors: does the earnings top-up evaluation study add to our understanding? Royal Economic Society Annual Conference 2005. Nottingham, UK 23 Mar 2005

Thomas, R. 2005. Zimbo and son meet the girl with a gun. in: Blamey, D. and D'Souza, R. (ed.) Living pictures: perspectives on the film poster in India London, UK Open Editions. pp. 27-44

Thomas, R. 2005. Not Quite (Pearl) White: Fearless Nadia, queen of the stunts. in: Kaur, R. and Sinha, A.J. (ed.) Bollywood: popular Indian cinema through a transnational lens London, UK Sage. pp. 35-69

Shinkle, E. 2005. Feel it, don't think: the significance of affect in the study of digital games. DiGRA 2005: Changing Views: Worlds in Play, 2005 International Conference. Vancouver 16-20 Jun 2005

Shinkle, E. 2005. Corporealis ergo sum: affective response in digital games. in: Garrelts, N. (ed.) Digital gameplay: essays on the nexus of game and gamer North Carolina, USA McFarland & Co. pp. 21-35

Orlow, U. 2005. What the billboard saw / la ville mode d'emploi. Fribourg, Switzerland Kunsthalle Fribourg Fri-Art.

Orlow, U. 2005. Urban Inventory #1-4. Fri-Art centre d'art contemporain/Kunsthalle, Fribourg, Switzerland 01 Jul - 04 Sep 2005

Orlow, U. 2005. Talk is cheap: some notes on freedom of speech and the ethics of listening in Route 181 by Michel Khleifi and Eyal Sivan. 1+1+1. 2.

Orlow, U. 2005. Still moving and moving still.

Orlow, U. 2005. Inside the archive. City Gallery Leicester offsite exhibition at New Walk Museum, Leicester, UK 14 Apr - 06 May 2006

Orlow, U. 2005. In concert. LSE, Kingsway Building, London 29 Apr - 29 May 2005

Orlow, U. 2005. Excerpts from 'time and again'. Printed Project. 4.

Matheson, N. 2005. The phantom of surrealism: photography, cultural identity and the reception of surrealism in England. History of Photography. 29 (2), pp. 149-162.

Dowmunt, T. and Thomas, R. 2005. Supervising and examining practice-based PhDs in the moving image. Journal of Media Practice. 6 (2), pp. 121-126. https://doi.org/10.1386/jmpr.6.2.121/7

Dawood, S., Gino, T. and Hammond, C. 2005. Paradise row.

Dawood, S., Ghazi, B., Hulusi, M., Araeen, R., Aramesh, R., Islam, R. and Seize, A. 2005. We Have Met the Enemy & He Is Us.

Dawood, S. 2005. 'Sister Kali's Soul Temple – the Goddess of Death and Aretha Franklin' and 'Lecture in Conversation - an improved dialogue between Albert Camus and Lord Krishna'. 6900 Bregenz, Bergmannstrasse 6, Austria. 16 Jul - 04 Sep 2005

Dawood, S. 2005. London in six easy steps.

Dawood, S. 2005. For a few rupees more.

Cumberland, S. 2005. The way we work now.

Chodzko, A., Ellard, G., Johnstone, S., Irvine, J., Orlow, U. and Panting, L. 2005. The trouble with talkies.

Carty, A. 2005. The distance and contemporaneity in exploring the practice of states: the British Archives in relation to the 1957 Oman and Muscat incident. Singapore Year Book of International Law. 9, pp. 1-11.

Campany, D. 2005. Glass camouflage: photography, objects and objectivity. in: Seelig, T. and Stahel, U. (ed.) The ecstasy of things: from functional objects to fetish in twentieth century photography Gottingen, Germany Steidl.

Shinkle, E. 2004. Boredom, repetition, inertia: contemporary photography and the aesthetics of the banal. Mosaic: a journal for the interdisciplinary study of literature. 37 (4), pp. 165-184.

Carty, A. 2004. Marxism and international law: perspectives for the American (twenty-first) century? Leiden Journal of International Law. 17 (2), pp. 247-270. https://doi.org/10.1017/S0922156504001815

Barnwell, J. 2004. Production Design: Architects of the Screen . London Wallflower Press.

Barsch, Barbara, Fischer, Ev, Qaṣ Ben-Šālôm, Yāʿēl., Orlow, Uriel, Stern, Heidi, Stih, Renata, Schnock, Frieder and Ury, Tanya 2004. "Stets gern für Sie beschäftigt ..." : [28. Januar bis 27. März 2005, ifa-Galerie Berlin]. IFA-Galerie Berlin.

White, R. 2004. Sign of a Black Planet: Hip-Hop and Globalisation. in: Davies, J., Campbell, N. and McKay, G. (ed.) Issues in Americanization and Culture Edinburgh University Press.

Bate, D. 2004. Surrealism, Communism and Photography. in: Evans, M. (ed.) Empire and Culture: Empire and culture: the French experience, 1830-1940 Palgrave Macmillan. pp. 57-70

Goddard, M. 2004. The Saragossa Manuscript. in: Hames, P. (ed.) 24 Frames: The Cinema of Central Europe London Wallflower Press. pp. 87-96

Moore, D. 2004. The Commons . London Velvet Press.

Goddard, M. 2004. Towards a Perverse Neo-Baroque Cinematic Aesthetic: Raúl Ruiz’s Poetics of Cinema. Senses of Cinema. 30 (4).

Goddard, M. 2004. The Fold, Cinema and Neo-Baroque Modernity. Traces: A Multilingual Series of Cultural Theory and Translation. 3, pp. 209-228.

Twomey, C. 2004. Heirloom.