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[Commlist] CFP Frames Cinema Journal Issue 16 Winter 2019 'Magical Women, Witches & Healers'
Mon Jun 17 10:28:25 GMT 2019
*/FRAMES Cinema Journal/*
*Call for Papers*
*Magical Women, Witches & Healers*
*Issue 16, Winter 2019*
*Chief Editors: *Ana Maria Sapountzi & Peize Li*Book Review Editor:
Almost every culture on earth contains within its history some form of
magic and magical women. From the high priestesses of Ancient Egypt to
the oracles of Ancient Greece, the brujas of Latina America to the
voodoo queens of the Caribbean and New Orleans, the shamanesses of
Mongolia to the mudangs of Korea, the medicine women of Native America
to the witches of Medieval Europe, female figures with the ability to
harness and utilise earthly, cosmic, and spiritual forces have
transcended cultures and proved an irresistible topic in history, myth,
Since cinema’s inception and throughout its global history, the figure
of the magical woman//has appeared countless times and in a plethora of
manifestations, her image and function designed and determined by
national, cultural, historical, political, and ideological contexts.
The magical woman begins her flight in silent cinema, first appearing in
films such as /The Witch of Salem /(Raymond B. West, USA, 1913) and
/Häxan /(Benjamin Christensen, Sweden-Denmark, 1922). She then manifests
in mid-century productions, such as /Bell, Book and Candle /(Richard
Quine, USA, 1958) and /Baeksabu-in/Madame White Snake /(Shin Sang-ok,
South Korea, 1960), and continues her presence in /Viy/Spirit of Evil
/(Konstantin Yershove & Georgi Kropachyov, Russia, 1967)/, Himiko
/(Masahiro Shinoda, Japan, 1974),/Suspiria /(Dario Argento, Italy,
1977), /Eve’s Bayou /(Kasi Lemmons, USA, 1997), /The Craft /(Andrew
Fleming, USA, 1996), and /Practical Magic /(Griffin Dunne, USA, 1999).
In recent years, the figure has been foregrounded in works such as
/Tulen Morsian/Devil’s Bride /(Saara Cantell, Finland, 2016), /The Love
Witch /(Anna Biller, USA, 2016) and /I Am Not a Witch /(Rungano Nyoni,
Zambia, 2017), confirming her resilience in and importance to cinema.
In light of the magical woman’s prominence across contemporary culture,
the 16^th Issue of /Frames Cinema Journal /seeks to investigate her new
filmic manifestations in 21^st century cinema and revisit those of the
past century. Due to the rich nature and history of the magical woman
figure, we are excited to hear from contributors working in a variety of
aspects of film studies. We are particularly keen on papers which
examine the figure from a *feminist, historical, spiritual, ecological*,
and *ideological perspective*.
Topics to discuss and analyse the magical woman figure through may
include, but are certainly not limited to:
* The magical woman and feminism/feminist issues.
* The magical woman, gender, and sexuality.
* The magical woman, and the female body and its experience.
* The magical woman, emotion and feeling.
* The magical woman and activism (e.g. feminist, eco-feminist, LGBTQIA+)
* The magical woman and politics/geopolitics/ecopolitics.
* The magical woman, ecology, and nature.
* The magical woman, modernity, post-modernity, and/or capitalism.
* The magical woman and traditional/modern setting.
* The magical woman, religion and spirituality.
* The magical woman, girlhood, and the girlhood experience.
* The magical woman and motherhood.
* The magical woman and sisterhood.
* The magical woman and fashion.
* The magical woman and female persecution and/or accused women.
* The magical woman, national identity, and/or ancestry.
* The historical, literary, and/or poetic magical woman figure and her
* The magical woman and genre.
* The magical woman and stardom.
* The magical woman and film festival programming.
*Notes for Authors:*
/Frames /accepts written pieces and video essays for submission. Written
pieces can be either essays for our *Features* section, which should be
between _5,000-7,000_ words (including footnotes, but excluding
bibliography) or shorter articles for our
*Point-of-View**(POV)* section, which may be between _1,000-3,000_ words
(including footnotes, but excluding bibliography). *Book reviews* are
typically _1,000 words_. If you would like to publish a book review,
please contact our *Book Review Editor*, Patrick Adamson, at
*(pa41 /at/ st-andrews.ac.uk)*.
Video essays can be of varying length and should be discussed with the
editors on a case-by-case basis. Video essay submissions must be sent to
the editors in the form of a link using an online streaming source
(Vimeo, YouTube, etc.)
All submissions to /Frames /should *_not_* be under consideration
elsewhere, and should be *_original_* and *_previously unpublished._*
The /Frames Cinema Journal /style guide may be found
*Proposal abstracts* should be no more than _250 words_ and *_must_* be
accompanied by an indicative *bibliography*. A brief *biography* of
approx. _150 words_ should be provided along with the abstract.
Abstracts should be sent through as *Word Documents* and titled “_Frames
Issue 16 Author First name Author Surname”_ (e.g. Frames Issue 16 Jane
Doe). Please submit your proposal to Ana Maria Sapountzi and Peize Li at
*(framesjournal /at/ gmail.com)* <mailto:(framesjournal /at/ gmail.com)>*.*__
*Timetable for /Frames Cinema Journal /Issue 16:*
* Abstract Proposal Deadline:* 13/09/2019***
* Abstract Decision Announcement: *23/09/2019***
* First Draft Deadline (written & video content): *04/11/2019***
* Final Draft Deadline: *09/12/2019***
* Intended Publication Date: *16/12/2019*
Abstracts are to be submitted no later than *Friday 13 September, 2019,
*as they will not be considered after that. Authors should expect to be
notified of the editorial committee’s decision by *Monday 23 September,
*email: *(framesjournal /at/ gmail.com)* <mailto:(framesjournal /at/ gmail.com)>*
*website: framescinemajournal.com <https://framescinemajournal.com/>
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