[Commlist] CFP Ekprasis on Essay Film

CFP /Ekphrasis /

Deadline approaching!
Send your proposal by April 5.

*The Essay Film as a Self-Representational Mode *
*/Ekphrasis - Images, Cinema, Theory, Media,/ Vol. 26, Issue 2/2021*
**
No payment from the authors will be required.
**

This issue includes a broad range of practices: the essay film, the 
self-portrait and the video diary, among others.

Essay films, as a type of first person cinema (although Laura Rascaroli 
in 2009 distinguished between these two film varieties), may be poetical 
or accented, artistic or political, personal (literally about a person 
or self) or collective (about a community of whatever sort), covertly or 
assumedly autobiographical, descriptive or reflexive. More than other 
films, these films are made to be explicitly about the filmmakers. “The 
matter of knowing ourselves or coming to consciousness about ourselves 
is not only a central ontological question […] but is also at the centre 
of the project of self-representation” (Lebow 2012, 4).

These films may range from the self-presentation of the author and/or 
their artistic praxis to the questioning of social realities 
subjectively perceived from the author’s perspective. In fact, for the 
purposes of this publication both are considered self-representation. 
Therefore, this journal issue will focus on essay films with a twofold 
perspective, simultaneously artistic and political/sociological. Using 
the concept of self-representation as ideology and dealing with 
authorial self-representation (a specific person/people, lives, family, 
internal experiences, artists’ professional engagement) and authorial 
ideological engagement (which corresponds to one's world vision through 
an ideological choice of form and contents), we are opening this call 
for papers as a way of writing about oneself in the world and writing 
about the world through oneself. Both perspectives can be made to 
coalesce, the essay film as an art form being the uniting factor, 
independently of the author's films main goal(s).

Possible topics of interest include, but are not limited, to the following:
• Self-reflexive forms and practices of the essay film.
• Poetics and personal methodologies of the essay as pedagogic strategies.
• Essay film as an in-between cinematic position.
• Self-representation in contemporary audiovisual art/culture.
• Essay films about film/art and authorial creativity.
• Reception and relationship with film viewers.
• Essay films for gallery and museums.
• The essay film across disciplinary borders.
• Autobiographical representations and self-examination.
• Affinities/divergences with the self-portrait.
• The self in memories or the archive.
• Branding: self-representation and authorship.
• Female, queer and minorities’ creative gestures.
• Self-consciousness and the body.
• First person cinema and video confessions.
• Gendered, postcolonial, diasporic, political cinema.
• Contesting/interrogating the world through the self.
• Relationship with other branches of knowledge.
• A world phenomenon dealing with local or transnational themes.
• Dialectic arguments: thesis and antithesis.
• The essay film as an instrument of change.
• Socio-political interests of the author.

The language for this issue of the journal is English.
All articles need to be proofread by a native English speaker before 
being sent to the journal
Articles: 5,000-9,000 words, including a 300-word abstract, 5-7 
keywords, a list of references, plus footnotes.
Book reviews 2,000-3,000 words. The books you propose must be recent.
Submission guidelines on the journal’s website: 
https://www.ekphrasisjournal.ro/index.php?p=subm.

Deadline proposals (250 - 300 words): April 5.
Acceptance notice: April 20.
Final submission deadline: July 30. Authors must be prepared for quick 
rewrites in September and October.
Publication date: December 2.

Send your submissions to: (chinita.estc /at/ gmail.com) 
<mailto:(chinita.estc /at/ gmail.com)>


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