[ecrea] Movie: A Journal of Film Criticism - Call For Papers and Audiovisual Essays

*/Movie: A Journal of Film Criticism /*

*Call for Papers, 2016:*

*General Call, Videographic Criticism, and ‘Opening Choices’*

**

*1. General Call*

/Movie: A Journal of Film Criticism 
<http://www2.warwick.ac.uk/fac/arts/film/movie/contents/best_years_of_our_lives_dossier.pdf>/ 
is committed to publishing rigorous but accessible critical writing, at 
a variety of lengths, that is responsive to the detailed texture and 
artistry of film and television, old and new. We also welcome articles 
that illuminate concepts, analytical methods and questions in film 
aesthetics that are of significance to film criticism. We welcome 
articles up to 8,000 words in length, though 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 
<http://www2.warwick.ac.uk/fac/arts/film/movie/contents/movie_style_sheet-1.pdf>. 


Articles should be submitted as email attachments to 
(movie.journal /at/ gmail.com) <mailto:(movie.journal /at/ gmail.com)>. Essays to be 
considered for the next issue should be submitted not later than *1**^st 
**October, 2016.*


*2. Style-based videographic criticism *

In addition to welcoming critical articles, /Movie: A Journal of Film 
Criticism/ 
<http://www2.warwick.ac.uk/fac/arts/film/movie/contents/best_years_of_our_lives_dossier.pdf>also 
invites submissions for a new strand of videographic criticism.

When the original /Movie/ appeared in 1962, its editors and critics 
chased films from cinema to cinema. Ian Cameron recalled attending eight 
public screenings to write about /L’Avventura/: ‘it meant that something 
which turned up once or twice at the NFT presented a considerable 
challenge …I got very good at writing notes in the dark.’ In the 
intervening period, successive changes in technology have made many 
films and television programmes readily accessible for repeated home 
viewing and also enabled scholars to study them in unprecedented detail. 
Recently, the availability of low-cost editing platforms has enabled the 
creation of a diverse – and now rapidly developing – videographic field, 
exemplified in its academic aspect by the award-winning journal 
[in]Transition <http://mediacommons.futureofthebook.org/intransition/>.

/Movie: A Journal of Film Criticism/ is committed to style-based 
criticism.  We therefore welcome the submission of audiovisual essays 
which meet the journal’s central aim of encouraging work responsive to 
the detailed texture and artistry of film and television. We hope that 
audiovisual essays will form a regular dimension of future issues, 
bringing argument and evidence together in exciting and accessible ways.

To initiate /Movie/’s introduction of videographic criticism, we have 
published a pair of audiovisual essays 
<http://www2.warwick.ac.uk/fac/arts/film/movie/videographiccriticism/> 
by John Gibbs and Douglas Pye on /The Phantom Carriage/ (/Körkarlen/, 
Victor Sjöström,1921).

Essays to be considered for the next issue should be submitted not later 
than *1**^st **October, 2016. *Submissions (to (movie.journal /at/ gmail.com) 
<mailto:(movie.journal /at/ gmail.com)>) should take the form of a 
password-protected link to the video on Vimeo and a statement of 
approximately 500 words contextualising the essay. Statements will be 
published alongside accepted audiovisual essays.


*3. ‘Opening Choices’*

In its next issue /Movie: A Journal of Film Criticism/ 
<http://www2.warwick.ac.uk/fac/arts/film/movie/> is also proposing to 
publish a dossier addressing the question of how movies begin.

There are of course many discussions of openings, often prefatory to an 
analysis of the film as a whole, or pieces that are mostly focused on 
the establishment of a given film’s narrative. Such issues cannot be put 
entirely aside, but we would like to invite contributions that would 
primarily involve thinking about the images and sounds with which 
specific movies initially demand our attention, reflecting on what it is 
they ask or expect of us as an audience, and what they offer to us.

The discussions could be short – up to 3,000 words – though we are also 
happy to consider longer pieces. We would ideally like to receive essays 
that concentrate very closely on the opening few seconds of image and 
sound. We will also consider discussions that go a little further into 
the running length, and essays that range over more than one film. 
Discussions of the philosophical implications of beginnings, work which 
might stand alongside the more substantial amount of study that has been 
devoted to the qualities of films’ endings, would also be welcome.

A question with regard to openings is that of the status of credit 
sequences. We anticipate that the dossier will include pieces which 
address what happens immediately after credit sequences, or how 
particular credit sequences can be thought of as openings, or how a 
credit sequence is articulated with respect to what follows it, and/or 
in some cases, precedes it.

Style-based videographic criticism will be a feature of future issues of 
the journal. Submissions which explore ‘opening choices’ in this form 
will also be welcome.

Articles should be submitted as email attachments to 
(movie.journal /at/ gmail.com) <mailto:(movie.journal /at/ gmail.com)>. Closing date: 
*1**^st **October, 2016*.

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