[Commlist] Call For Papers: “DigitalCinema” for Special Issue of sinecine: Journal of Film Studies

Call for Papers: “Digital Cinema” for Special Issue of sinecine: Journal 
of Film Studies

Special Issue Editor: Hakan Erkılıç (Mersin University)

sinecine‘s special issue of digital cinema aims to examine digital 
cinema by considering its interactions with theory, technology, ideology 
and new media. The transition from the conventional production style 
based on film to the digital cinema production style is considered by 
some theorists as the death of cinema (Friedberg, 2000; Cherchi Ushai, 
2001; Belton, 2002; Gaudreault and Marion, 2015). Thus, digital cinema 
is described as a false revolution (Belton, 2002) and discussions on 
post-cinema (Denson and Leyda, 2016) begin. In the Bazinian (1995; 2011) 
sense, it is claimed that reality (the myth of total cinema, the 
ontology of the photographic image, indexicality) has disappeared 
(Rosen, 2001; Rodowick, 2007), whereas there are also studies (Brown, 
2015; Gaudreault and Marion, 2015) arguing that digital cinema achieves 
this in the best possible way. Another approach considers film not as an 
unchanging work of art, but instead as Cinema 3.0 (Daly, 2010), which 
takes place in the world of cross-media interaction, includes user 
participation and thus enables new forms of expression. It is possible 
to read the practices of VR, 3D, artificial intelligence and interactive 
cinema within this framework.
CGI and VFX, which are at the center of the digital cinema debate, are 
often criticized for disrupting the narrative flow or contributing 
little or no to the narrative, story, character development. However, 
Whissel (2014) argues that CGI dramatically captures the main themes, 
concerns and desires of the films in which it takes place. Every great 
change means that the old dies and the new is born. However, 
digitalization in cinema should be evaluated not as a break, but as an 
evolution. In this process, digital cinema begins to create its own 
concepts and theories. Theoretical perspectives such as “elastic 
reality” in animation cinema (Manovich, 1995), “cinema as a cultural 
interface” (Manovich, 1997), “perceptual realism” (Prince, 1996), 
“liquid cinema” (Frampton, 2012), “digitographic” (Hadjioannou, 2012) 
and “supercinema” (Brown, 2015) are added to the literature of cinema. 
Digital cinema also causes structural changes in the global cinema 
industry. The convergence experienced in the digital era of cinema, 
where software, hardware and thought are organized together, makes the 
cinema industry move from “project based production” of film production 
to “business based production” through technological accumulation and 
companies organized in an industrial ecosystem (Salvador, Simon & 
Benghozi 2019). The traditional value chain of cinema is turning into 
the New Media Business Model (Finney 2010) and digital platforms are on 
the rise due to the devastating effects of the COVID-19 pandemic on the 
cinema industry. Within this framework, in the digitalized world, 
viewing practices and the audience also begin to change, diversify and 
become plural (Cassetti, 2011; Maltby, Biltereyst & Meers, 2011). Along 
with digitalization, alternative financial resources specific to the new 
economy are taking shape (such as crowdfunding) and a new paradigm is 
emerging that overturns the top-down one-way production model.
As Cassetti (2011) stated, digital cinema emerges as an area that needs 
more research.
For the special issue of sinecine: Journal of Film Studies focused on 
digital cinema, we are waiting for articles dealing with the 
theoretical, practical, industrial and aesthetic contexts of digital cinema.
In this context, we invite original and transformative research that 
will make a critical contribution to the evolving academic discourse on 
the subject.

Some of the suggested topics for the digital cinema special issue can be 
listed as follows:

Digital cinema and film theory
Digital cinema and reality
Digital cinema aesthetics and technology: CGI / VFX practices
Digital cinema and transmedia storytelling
Digital cinema and amateur film practices
Digital cinema, changing viewing practices and digital platforms
Digital cinema and film festivals
Digitization and documentary film
Digitization and 3D cinema
Digitization and interactive cinema
Digitization and VR
Digitization and artificial intelligence
Digitization and cinephilia
Digitization and film archives

Submission Guidelines
Original research articles, short notes, and book reviews specific to 
the issue are expected for the special issue of sinecine: Journal of 
Film Studies focused on digital cinema. Papers must be original; papers 
accepted (or previously published) for publication elsewhere will not be 
considered. Articles (including notes and references) must not exceed 
ten thousand words (the ideal word count is 8,000). Explanatory notes 
must be numbered within the text and placed at the bottom of the 
relevant page. An abstract of 250-300 words in Turkish and English (with 
5 keywords), and an extended abstract of 600-800 word in English must be 
added. The papers to be evaluated in the Notes column such as film 
reviews, book promotions or meeting/festival reviews can be 2000-4000 
words. Articles must be written in 12-point Times New Roman font with 
1,5 line spacing while footnotes must be written with 10-point Times New 
Roman font with 1 line spacing. For articles, the name of the author, a 
short biography, the title of the article, the full address and e-mail 
address of the author must be written on a separate page.

For more information on article writing format, see also 
https://dergipark.org.tr/tr/pub/sinecine 
<https://dergipark.org.tr/tr/pub/sinecine> and 
https://www.sinecinedergi.org/tr/ <https://www.sinecinedergi.org/tr/>.
In sinecine: Journal of Film Studies, no fee is charged from the authors 
in any way.

Papers must be uploaded to the Dergipark system at 
https://dergipark.org.tr/tr/pub/sinecine 
<https://dergipark.org.tr/tr/pub/sinecine>.
In the submission, authors must indicate that their paper is for the 
“special issue: digital cinema”. No payment from the authors will be 
required.


Timeline:
sinecine Special Issue: Digital Cinema publication date:01 December 2022
Deadline for submissions for articles:01 May 2022

Review Process
All articles will go through the blind peer review process after the 
editorial board evaluation.

sinecine: Journal of Film Studies
sinecine aims to bring different disciplines together on the common 
denominator of cinema and create an area for research, discussion, 
criticism and questioning within the social sciences, art and human 
sciences. sinecine articles are published online. sinecine is a 
peer-reviewed journal indexed in the FIAF (International Federation of 
Film Archives) International Index to Film Periodicals and the TR Dizin 
(The Turkish Index of the Turkish Technological Research Council’s 
National Academic Network and Information Center). Turkish and English 
papers are published in sinecine.

Special Issue Editor and Links
Hakan Erkılıç (erkilichakan /at/ gmail.com) <mailto:(erkilichakan /at/ gmail.com)>
Selver Dikkol (Editorial assistant)
Nil Yüce (Editorial assistant)
https://dergipark.org.tr/tr/pub/sinecine 
<https://dergipark.org.tr/tr/pub/sinecine>
https://www.sinecinedergi.org/tr/ <https://www.sinecinedergi.org/tr/>
(sinecine /at/ gmail.com) <mailto:(sinecine /at/ gmail.com)>




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