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Calls For Submissions

Submissions are welcomed. The editors do not accept responsibility for loss.

Issue #93

THE CITY AND FILM

Film and urban theorists have noted the relationship between the development of the modern metropolis and the rise of the cinema, which remains a central component of modern urban culture. This issue will explore the continuing connection between the two and how it's expressed and continues to be relevant. The cinema has shaped ideas about reality and in turn, has influenced how certain cities are perceived producing a dynamic relationship between the social world and culture. Submissions can include the reading of a film dealing with a specific city such as New York or Paris or the city and genre films, the city as utopia or as nightmare, the destroyed city.

Papers should be submitted in hard copy and mailed to:
40 Alexander St., Suite 705
Toronto, Ontario  CANADA  M4Y 1B5
to the attention of Florence Jacobowitz (fjacob [AT] yorku.ca) or Richard Lippe (rlippe [AT] yorku.ca), editors of this issue.

Style guide is available below.

SUBMISSION DEADLINE FEBRUARY 1, 2014

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Issue #94

LONG FORM DRAMA, SHORT SUBJECTS

“Long Form Drama” is a term coined to describe the recent shift of interest towards television series of high quality that many consider to have replaced the cinema as a locus of serious adult entertainment. Unfolding over multiple episodes, hours, and even years, these TV shows are seen to provide a content, often dark and difficult, and an innovative style that strain against the conventions of cinema as well as network television (they tend to be found on premium cable channels). Once considered a cultural wasteland—hence the pejorative nickname the ‘boob tube’ as TV came to be called in the nineteen sixties—television now attracts some of the best and most innovative writers, directors, and even actors. Additionally, we would like to include in this topic that body of theatrical film that unspools over three plus hours—a less commercially viable length once favored only by art film directors (and artists). Issue 94 welcomes papers that deal with all aspects of this phenomenon, from the general (e.g. historical technical, industrial, artistic, etc.) to the more specific (e.g. in-depth analyses of shows and films that come under this category).

A second complementary topic is “Short Subjects”, an area of filmmaking rarely dealt with in critical circles. Most film writing and film criticism deals with feature length films, ignoring the large body of short films that have proliferated since the beginning of cinema. Culturally ignored and theatrically unfriendly, short films have been relegated to screenings at film festivals and art houses. However, the rise of the Internet as a venue for filmwatching, and posting of one’s own films or favorites, has created an opening for renewed interest in the subject. Again, we welcome all approaches to this topic.

Papers in hard copy mailed to Susan Morrison (smorr [at] cineaction.ca), editor. Brief proposals, queries and submissions to:

Susan Morrison
314 Spadina Road
Toronto, Ontario CANADA M5R 2V6

Style guide is available below.

SUBMISSION DEADLINE JUNE 1, 2014

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.


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