[Commlist] new articles published in Movie: A Journal of Film Criticism, issue 10

It is Lucy Fife Donaldson's pleasure to announce that the current issue 
of /Movie: A Journal of Film Criticism/ continues with the launch of a 
new dossier: The politics of close analysis, and its object and further 
additions to the V.F. Perkins dossier initiated in 
August: https://warwick.ac.uk/fac/arts/scapvc/film/movie/ <http:// 
https://warwick.ac.uk/fac/arts/scapvc/film/movie/>

The politics of close analysis, and its object features the following 
articles:

Introduction 
<https://warwick.ac.uk/fac/arts/scapvc/film/movie/contents/movie_issue10_introductiontopoliticsdossier.pdf> - 
Lucy Fife Donaldson and Lisa Purse

Eileen Rositzka, 1988-2021 
<https://warwick.ac.uk/fac/arts/scapvc/film/movie/contents/movie_issue10_eileenrositzka.pdf> - 
Lisa Purse and Lucy Fife Donaldson

The spirits of African cinema: redemptive aesthetics in Mati Diop's 
Atlantics 
<https://warwick.ac.uk/fac/arts/scapvc/film/movie/contents/movie_issue10_spiritsofafricancinema.pdf> - 
Rosalind Galt

Tracing the threads of influence: George Hoyningen-Huene and Les Girls 
(1957) 
<https://warwick.ac.uk/fac/arts/scapvc/film/movie/contents/movie_issue10_tracingthethreads.pdf> - 
Lucy Fife Donaldson

No compromise: Jan Němec's rough diamond 
<https://warwick.ac.uk/fac/arts/scapvc/film/movie/contents/movie_issue10_nocompromise.pdf> - 
Anne Rutherford

Roundtable: Movie: A Journal of Film Criticism and the past, present, 
and future of film criticism 
<https://warwick.ac.uk/fac/arts/scapvc/film/movie/contents/movie_issue10_roundtable.pdf>

This dossier will continue to be open to submissions to be published in 
future issues. 
https://warwick.ac.uk/fac/arts/scapvc/film/movie/submissions/ 
<https://warwick.ac.uk/fac/arts/scapvc/film/movie/submissions/ >

Call for Papers: The politics of close analysis, and its object

What should be the object of writing on film and television aesthetics 
at this contemporary moment? Public reflection on the relationship of 
cultural representation to historical and current power structures that 
oppress particular peoples and communities has recently gathered pace 
and prominence. This activist moment reposes pressing questions about 
who gets to make films and television, who gets to write criticism, and 
which films, television shows and their makers should be examined and 
celebrated as the object of analysis. The form of rigorous analysis 
often present in the pages of Movie is attentive to style not as natural 
or neutral, but meaningful and engaging with questions of 
representation, of race, gender and class. In this dossier, we invite 
contributions which give voice to and reasoned evaluation of figures, 
communities, and films or television that have traditionally been 
marginalised in critical analysis and culture, and in wider cultural 
discourse. We seek to reject what So Mayer and Ania Ostrowska (2015) 
have called ‘the perception of scarcity’ that such has so often framed 
and perpetuated marginalisation, and embrace the prompt to ‘celebrate 
and participate in [the] plenitude’ of marginalised films and filmmakers 
instead (ibid).


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