Archive for 2019

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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 <>_///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:

/*_General Call_*/

/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 here: _<>_

*_Audiovisual criticism_*

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.


*_Themed Dossiers_*

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/ <mailto:(movie.journal /at/>_.

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