Calls for Submissions

Calls For Submissions

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

Issue #87

CRITICISM AND CLOSE READINGS

This issue continues to explore the value of close readings of films. We, as editors of this issue, are committed to the tradition of testing theoretical precepts against the practice of critical reading. This issue explores the distinction between serious criticism and the tendency today toward casual, impressionistic reviews.

Close readings presuppose that some films invite a complex response, and the practice of criticism opens up a discussion that extends the experience of viewing a film. There are directors who insist upon this kind of engagement and some films demand repeated viewing; others are geared to be taken less seriously and are intentionally undemanding.

We invite a wide range of submissions, with the intention of opening up a discussion addressing whether there remains a cultural space for criticism of this kind, or of any kind.

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.

Deadline for submissions: January 31, 2012.

Issue #88

BEYOND THE NARRATIVE: SOCIAL ISSUES ON FILM

Recently, the theme of ‘Social Issues’, once relegated to the documentary, appears to be of increasing interest to fiction filmmakers; a little meaningful ‘content’ mixed in with the entertaining story. For the purpose of CineAction #88, we are interpreting ‘Social Issues’ in its broadest sense to include anything and everything to do with the state of society and social life, whether motivated by political, economic, or indeed social forces. While some directors like John Sayles and the Dardenne brothers have always focused on narratives that deal with these concerns, there seems to be a growing number of filmmakers who are tackling and/or taking on the ‘bigger issues’. Examples include big budget/big star films (Traffic, Syriana, Blood Diamond),low budget indies (Martha Marcy May Marlene, Margin Call), and Canadian (Philippe Falardeau’s Monsieur Lazhar and Denis Villeneuve’s Incendies) and European ‘art films’(Kassovitz’s La Haine, Kaurismaki’s Le Havre, Olmi’s The Cardboard Village). We welcome any approach to this broad theme: investigations and/or analyses of specific films, directors, topics, approaches, or theories.

Bromance films

While this could be seen as a sub-genre of Social Issue films, it is possible to look at the genesis of this new genre in terms that extend beyond the social. A seeming extension and updating of the ‘buddy film’ genre, there appears to be more of interest and at stake here. It is noteworthy that in general, Bromance films are comedies, even and especially when the subject matter involves terminal cancer, as in the recent 50/50.

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. Please submit a brief proposal as early as possible as an indication of intention to submit.

Guidelines for contributors are 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: April 15, 2012.

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.

	Calls For Submissions Submissions are welcomed. The editors do not accept responsibility for loss. Issue #87 CRITICISM AND CLOSE READINGS This issue continues to explore the value of close readings of films. We, as editors of this issue, are committed to the tradition of testing theoretical precepts against the practice of critical reading. This issue explores the distinction between serious criticism and the tendency today toward casual, impressionistic reviews. Close readings presuppose that some films invite a complex response, and the practice of criticism opens up a discussion that extends the experience of viewing a film. There are directors who insist upon this kind of engagement and some films demand repeated viewing; others are geared to be taken less seriously and are intentionally undemanding. We invite a wide range of submissions, with the intention of opening up a discussion addressing whether there remains a cultural space for criticism of this kind, or of any kind. 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. Deadline for submissions: January 31, 2012. Issue #88 BEYOND THE NARRATIVE: SOCIAL ISSUES ON FILM Recently, the theme of ‘Social Issues’, once relegated to the documentary, appears to be of increasing interest to fiction filmmakers; a little meaningful ‘content’ mixed in with the entertaining story. For the purpose of CineAction #88, we are interpreting ‘Social Issues’ in its broadest sense to include anything and everything to do with the state of society and social life, whether motivated by political, economic, or indeed social forces. While some directors like John Sayles and the Dardenne brothers have always focused on narratives that deal with these concerns, there seems to be a growing number of filmmakers who are tackling and/or taking on the ‘bigger issues’. Examples include big budget/big star films (Traffic, Syriana, Blood Diamond),low budget indies (Martha Marcy May Marlene, Margin Call), and Canadian (Philippe Falardeau’s Monsieur Lazhar and Denis Villeneuve’s Incendies) and European ‘art films’(Kassovitz’s La Haine, Kaurismaki’s Le Havre, Olmi’s The Cardboard Village). We welcome any approach to this broad theme: investigations and/or analyses of specific films, directors, topics, approaches, or theories. Bromance films While this could be seen as a sub-genre of Social Issue films, it is possible to look at the genesis of this new genre in terms that extend beyond the social. A seeming extension and updating of the ‘buddy film’ genre, there appears to be more of interest and at stake here. It is noteworthy that in general, Bromance films are comedies, even and especially when the subject matter involves terminal cancer, as in the recent 50/50. 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. Please submit a brief proposal as early as possible as an indication of intention to submit. Guidelines for contributors are 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: April 15, 2012. 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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