Calls For Submissions
Submissions are welcomed. The editors do not accept responsibility for loss.
Our issue explores authorship in terms of the director's contribution to a film within the context of the collaborative process that defines filmmaking practice.
Authorship remains a relevant approach to film study. We welcome submissions dealing with the concept of authorship in both the classical and contemporary cinema.
Edited by Florence Jacobowitz [fjacob (at) yorku.ca] and Richard Lippe [rlippe (at) yorku.ca]. Please email any questions or interest to the editors. Submissions in hard copy mailed to the editors at 40 Alexander Street, #705, Toronto Ontario, Canada M4Y 1B5. Style guide is available below.
Submission Deadline: Feb. 15, 2013
This issue seeks to investigate the many variations on the relationship between Art and Film inherent in the joining together of the two words, and welcomes all interests and approaches.
Some possible topics, such as ‘Film as (an) Art (Form)’ and ‘the Art Film’ have been much-discussed nodes of inquiry in film studies. Documentaries on Artists (Painters Painting, Never Sorry: Ai Weiwei, Gerhard Richter Painting) and Artist Biopics, old (Lust for Life, The Agony and the Ecstasy) and more recent (Basquiat, Pollock, Frida), have proved popular over the years in their attempts to find narrative drama in an artist’s life/technique/ approach to art, or to merely find a way of presenting potentially difficult art to the general public. There are artist-made films, both experimental (Man Ray, Joseph Cornell, Andy Warhol), and those intended for commercial distribution (Robert Longo, David Salle, Julian Schnabel); and films like Banksy’s Exit through the Gift Shop which blur the boundaries. In addition, there are artists (Christian Marclay, Omer Fast, Pipilotti Rist, Shirin Neshat) who use the medium of film/video for gallery-installed artwork.
Papers should be submitted in hard copy, mailed directly to Susan Morrison, the editor of this issue. Once accepted for publication, the paper will then be emailed as a file attachment.
It would be appreciated if a brief proposal be submitted as early as possible as an indication of intention to submit.
Style guide is available below.
Please address all queries and submissions to the issue’s editor: Susan Morrison, 314 Spadina Road’ Toronto ON, Canada M5R 2V6 [smorr (at) cineaction.ca]
SUBMISSION DEADLINE: May 15, 2013.
Guidelines for Contributors
CineAction issues are organized on specific themes with calls for submissions publicized in advance in each issue and on our website. Inquiries may be sent to cineaction [at] cineaction.ca or to the editor/s indicated in calls for submissions.
However, we also welcome submissions independent of these themes on all subjects of interest to international film and media spectators, critics and scholars. We expect contributors will be engaged with the politics of film and culture and encourage debate and argument. Articles should be written in a style that is lucid and accessible. Our audience includes university scholars but we reach beyond the academy to all readers interested in the pleasures and complexities of the cinema.
Submissions may be short reviews of films or film books, up to 2000 words, review essays or longer historical or theoretical discussions preferably no more than 6000 words, although we have made exceptions.
Notes should be used sparingly. Citations should be included in endnotes following the format recommended in The Chicago Manual of Style. Initial mention of a film should be followed by year of distribution in brackets. We do not print bibliographies or filmographies with articles.
Submissions should be sent in double spaced hard copy to the editor/s. When your submission is selected, we will request an electronic version. Information on availability of stills is appreciated.
Please include a short, one or two line bio and your mailing and email address.
Contributors receive a small honorarium and a 1 year subscription to CineAction.