Synoptique: An Online Journal of Film and Moving Image Studies is a double-blind peer-reviewed open access journal housed in the Mel Hoppenheim School of Cinema, Concordia University (Canada). Founded in 2008, the journal has promoted innovative research in film and media studies, combining a variety of theoretical and methodological approaches—publishing special issues on topics as diverse as queer media practices, Indian cinema, moving image archives and the digital transition, film festival networks, queer nationalism, humour and feminist media theory, the aesthetics of cinema technology, and archival film training. This year the journal is undergoing deep changes in order to better reflect the most pressing research concerns and priorities within media studies. As the field has been recently affected by a profound reevaluation of its traditional paradigms, Synoptique intends to provide a platform for publication, discussion, and reflection on the new political-cultural formations shaping media studies discourse. In this respect, the journal aims to intervene in key debates within media studies while critically tackling the economies and politics of scholarly activity, addressing dominant trends in academic research conducted within the historical, ideological, and institutional limits of the neoliberal university. In addition to, and as an extension of, this impetus, the journal aims to showcase approaches that address the transnational and global dimensions of moving image media research.
We are inviting submissions that come to terms with the shifting ground of film and media studies discourse. As trends and key terms in the field come and go, and concepts are stretched to the edges of critical utility, we propose an intensified engagement with the politics of uptake and the critical value of knowledge production in our specific but wide-ranging field. The spatial, the archaeological, the infrastructural, the biopolitical, the geopolitical—such discourses both address key debates and political conditions as well as fall prey to a fashion system dictated by the „innovation” mandates of university research in an era of neoliberal governance. The historical conditions of knowledge production, and the forms in which it is performed, displayed, and distributed, are a key focus of film and media studies across its various historical and theoretical contexts. How does a journal contribute to these debates, move beyond instrumentality and trendiness, and participate in wider struggles situated on the changing foundations of film and media studies research?
Issue 7.2 intends to mark the new direction the journal will take in the future; laying the groundwork for a new research platform that will engage with, and intervene in, the ever-shifting topographies and genealogies of media studies research. To signal this shift, we have decided to make 7.2 an open call issue, thus moving away from our traditional “thematic” focus, intending to promote a wide variety of scholars pushing media studies research in new directions. By leaving the theoretical and topical boundaries somewhat “open,” the journal aims to bring together a set of articles that reflect the mutable concerns and priorities of the media studies field.
Possible areas of inquiry include but are not limited to:
- Distribution/Circulation/(In)Formal Economies of Media
- Anthropological and Ethnographic Approaches to Film and Media
- Infrastructure and Logistics of Media
- Political Geographies
- Media Industries
- Emergent Media
- Digital Media
- Queer and Feminist Approaches to Digital Culture
- Decolonial Media Practices
- Critical Race Studies
- Labour and Media Industries
- Histories and Theories of Political Cinema
- Indigenous Media
- Activist Media
- Non-Institutional Cinemas
- Global Television
- Archival Practices
Essays submitted for peer review should be approximately 5,500-7,500 words and must conform to the Chicago author-date style (17th ed.). All images must be accompanied by photo credits and captions.
We also warmly invite submissions to the review section, including conference or exhibition reports, book reviews, film festival reports, and interviews related to the aforementioned topics. All non-peer review articles should be a maximum of 2,500 words and include a bibliography following Chicago author-date style (17th ed.).
All submissions may be written in either French or English.
Please submit completed essays or reports to email@example.com, and editors-in-chief Giuseppe Fidotta (firstname.lastname@example.org) and Patrick Brian Smith (email@example.com) by February 28, 2018. We will send notifications of acceptance by March 15, 2018.