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[Commlist] CFP: Movie: A Journal of Film Criticism - Call for papers and audiovisual essays
Thu Apr 25 20:58:08 GMT 2019
*/_Movie_/**/_: A Journal of Film Criticism _/*
*_Call_**_ for Papers_*
/_Movie: A Journal of Film Criticism
<https://warwick.ac.uk/fac/arts/film/movie/>_///is the successor to the
seminal journal /MOVIE /(1962-2000). We are a peer-reviewed, open access
scholarly journal dedicated to publishing rigorous but accessible work
that is concerned with the aesthetics of film and television style,
close textual analysis, and/or the theory and practice of evaluating
works of film and television.
This year the journal is moving to a rolling publication model.
Submissions will be accepted and published throughout the year. Each
Issue number will be associated with the year of publication.
We are currently inviting submissions in the following categories:
/We welcome articles /that are responsive to the detailed texture and
artistry of film and television, old and new. We are also interested in
receiving articles that illuminate concepts, analytical methods and
questions in film aesthetics that are of significance to film criticism.
Articles should normally be up to 8,000 words in length, though we 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
We also welcome audiovisual criticism that attends closely to matters of
film style. Submissions should take the form of a password-protected
link to the video on Vimeo and a statement of approximately 500 words
contextualising the work. Statements will be published alongside
accepted audiovisual essays. Audiovisual work can also be submitted to
the dossier themes below.
In addition to the general call for papers, we are developing themed
dossiers that respond to the following topics:
*i) Focus and contemporary film style*
Shallow focus, blur, lens flare and micro close-ups are increasingly
prevalent in contemporary film. Films such as /Wuthering Heights
/(2011)/,//American Honey /(2016), /Revenge /(2017) and /Madeline’s
Madeline /(2018), for instance, all make extensive use of such
devices – though they can be found in many other strands of
contemporary filmmaking. To what extent do these stylistic choices
provide an alternative film aesthetic? Might they suggest that our
sense of visual ‘realism’ is shifting, rejecting Bazinian
‘composition in depth’ in favour of experiential
perception? Articles could also respond to theoretical debates on
texture, affect, and visual uncertainty. Critical concepts such as
spectacle, coherence, point-making, distraction and boredom are also
relevant, if anchored in close analysis of film style.
*ii) Intention in film and television criticism*
What role should aesthetic intentions (conceived as actual, implied,
or inferred) be granted in our claims about the meanings, effects,
and achievements of film and television texts? Once a topic of
intense theorising, this challenging question has in recent years
largely receded from the forefront of critical debates. We invite
articles that address themselves to the nature, status, and – above
all –uses of orproblemswithappeals to/assumptions about intention
for film and/or television criticism. Submissions might be
predominantly theoretical, proposing or debating the usefulness of
particular intentionalistic models for understanding film and
television media. However, we especially welcome articles that use
close analysis to show how one’s theoretical commitments regarding
intention also inform how we account for the details of individual
*iii) Digital moments *
We invite close analysis of moments in which the digital is somehow
at issue in filmmakers' decisions – in the film-as-object, or in the
task of interpretation. The digital can be taken as object, or as
context. Contributors can engage with different modes and forms,
such as independent and art cinema, experimental works, and
mainstream production. Short pieces are encouraged (3,000 words) but
longer pieces will also be considered. Essays may concentrate on
moments that last only a few seconds of screen time, or on a range
of related moments across a sequence, a film, or more than one film.
Articles which reflect on critical methodology as part of their
discussion are also welcome.
All submissionsand inquiries should be sent to (_movie.journal /at/ gmail.com)
<mailto:(movie.journal /at/ gmail.com)>_.
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