{"id":167,"date":"2016-05-20T18:38:07","date_gmt":"2016-05-20T15:38:07","guid":{"rendered":"http:\/\/www.sociologic.ro\/cfp-movie-a-journal-of-film-criticism-2016\/"},"modified":"2017-09-13T22:45:48","modified_gmt":"2017-09-13T19:45:48","slug":"cfp-movie-a-journal-of-film-criticism-2016","status":"publish","type":"post","link":"https:\/\/www.sociologic.ro\/en\/cfp-movie-a-journal-of-film-criticism-2016\/","title":{"rendered":"CfP Movie: A Journal of Film Criticism, 2016"},"content":{"rendered":"

General Call<\/strong>
\nMovie: A Journal of Film Criticism<\/a><\/i> is committed to publishing rigorous but accessible critical writing, at a variety of lengths, that is responsive to the detailed texture and artistry of film and television, old and new. We also welcome articles that illuminate concepts, analytical methods and questions in film aesthetics that are of significance to film criticism. We welcome articles up to 8,000 words in length, though are also open to the possibility of longer pieces, to be judged on a case-by-case basis. A style guide for submissions can be found here<\/a>.
\nArticles should be submitted as email attachments to movie.journal@gmail.com<\/a>. Essays to be considered for the next issue should be submitted not later than 1st<\/sup> October, 2016.<\/strong><\/p>\n

Style-based videographic criticism <\/strong>
\nIn addition to welcoming critical articles, Movie: A Journal of Film Criticism<\/i> <\/a>also invites submissions for a new strand of videographic criticism.
\nWhen the original Movie<\/i> appeared in 1962, its editors and critics chased films from cinema to cinema. Ian Cameron recalled attending eight public screenings to write about L\u2019Avventura<\/i>: \u2018it meant that something which turned up once or twice at the NFT presented a considerable challenge \u2026I got very good at writing notes in the dark.\u2019 In the intervening period, successive changes in technology have made many films and television programmes readily accessible for repeated home viewing and also enabled scholars to study them in unprecedented detail. Recently, the availability of low-cost editing platforms has enabled the creation of a diverse \u2013 and now rapidly developing \u2013 videographic field, exemplified in its academic aspect by the award-winning journal [in]Transition<\/a>.
\nMovie: A Journal of Film Criticism<\/i> is committed to style-based criticism.\u00a0 We therefore welcome the submission of audiovisual essays which meet the journal\u2019s central aim of encouraging work responsive to the detailed texture and artistry of film and television. We hope that audiovisual essays will form a regular dimension of future issues, bringing argument and evidence together in exciting and accessible ways.
\nTo initiate Movie<\/i>\u2019s introduction of videographic criticism, we have published a pair of audiovisual essays<\/a> by John Gibbs and Douglas Pye on The Phantom Carriage<\/i> (K\u00f6rkarlen<\/i>, Victor Sj\u00f6str\u00f6m,1921).
\nEssays to be considered for the next issue should be submitted not later than 1st<\/sup> October, 2016. <\/strong>Submissions (to movie.journal@gmail.com<\/a>) should take the form of a password-protected link to the video on Vimeo and a statement of approximately 500 words contextualising the essay. Statements will be published alongside accepted audiovisual essays.<\/p>\n

\u2018Opening Choices\u2019<\/strong>
\nIn its next issue Movie: A Journal of Film Criticism<\/i><\/a> is also proposing to publish a dossier addressing the question of how movies begin.
\nThere are of course many discussions of openings, often prefatory to an analysis of the film as a whole, or pieces that are mostly focused on the establishment of a given film\u2019s narrative. Such issues cannot be put entirely aside, but we would like to invite contributions that would primarily involve thinking about the images and sounds with which specific movies initially demand our attention, reflecting on what it is they ask or expect of us as an audience, and what they offer to us.
\nThe discussions could be short \u2013 up to 3,000 words \u2013 though we are also happy to consider longer pieces. We would ideally like to receive essays that concentrate very closely on the opening few seconds of image and sound. We will also consider discussions that go a little further into the running length, and essays that range over more than one film. Discussions of the philosophical implications of beginnings, work which might stand alongside the more substantial amount of study that has been devoted to the qualities of films\u2019 endings, would also be welcome.
\nA question with regard to openings is that of the status of credit sequences. We anticipate that the dossier will include pieces which address what happens immediately after credit sequences, or how particular credit sequences can be thought of as openings, or how a credit sequence is articulated with respect to what follows it, and\/or in some cases, precedes it.
\nStyle-based videographic criticism will be a feature of future issues of the journal. Submissions which explore \u2018opening choices\u2019 in this form will also be welcome.
\nArticles should be submitted as email attachments to movie.journal@gmail.com<\/a>. Closing date: 1st<\/sup> October, 2016<\/strong>.<\/p>","protected":false},"excerpt":{"rendered":"

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