Film and book titles in your manuscript should be italicized rather than underlined. Submission Guidelines. As sole copyright owner of the material it publishes, Film & History does not grant electronic distribution rights outside the domain of its official electronic distributors. If an author has written a publishable article (notes toward revision notwithstanding), the editors at Film & History believe that he or she should know this distinction–as should, perhaps, the author’s department chair, college dean, or provost. Copyright and publishing rights on articles is retained by the author(s). • APC-free Policy Each of these distributors will have its own policy, but, collectively, they constitute the sole legal means by which the journal may be distributed (apart from print subscriptions). Except where otherwise noted, all journal content is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Volume 44, No. You move from one step to the next by clicking on the 'Next' button on each screen or back to the previous screen by clicking on the 'Previous' button. Please submit abstracts (max. Abstract: For articles that require it, the abstract should not exceed 400 words. We consider the investment we make in the authors accepted for publication to be the principal advertisement for our journal. Article features include film and related media, problems of education in these fields, and the function of film and video in … If any dispute should arise after publication, an author may, with editorial consent, publish limited correction(s), or the author may request a retraction of his or her name from the article (see “Fair Use,” next section). Manuscript submissions to the IAFOR Journal of Media, Communication & Film are now OPEN.. Reminders. On the basis of the reviews, the editors then make a decision on whether to accept without any changes, accept after minor revision, accept after major revision, send for a second peer review after major revision, or reject an article. FQ PRINT EDITION SUBMISSION GUIDELINES FQ welcomes both established scholars and fresh voices that bring new perspectives to bear on discourses of visual representation rooted in issues of diversity, race, lived experience, gender, sexuality, and transnationalism. Film-Philosophy is an international peer-reviewed academic journal dedicated to philosophically discussing film studies, aesthetics and world cinema. Twitter Bright Lights began life as a nominally quarterly print publication in 1974, published and edited by Gary Morris. Films which interpret history; 2. Articles for New Approaches section are accepted on an ongoing basis and published throughout the year. Author Details: Do not list your name or institutional affiliation on the manuscript itself. Articles submitted for the publication are checked with the PlagScan software. In 1995, the magazine went online exclusively as brightlightsfilm.com. Under no circumstances, however, may an essay that has not been edited according to the recommendations of peer review be published in the journal, and under no circumstances may an author publish the edited version–which is the legal property of the journal–without consent from Film & History. These changes will be submitted to authors for approval. Fair Use and Copyright (“Work Made for Hire”). The Journal does not accept unsolicited reviews. While no major alterations will be carried out without the author’s consent, the editors reserve the right to make minor editorial changes to any format, punctuation, grammar, or spelling errors. We prefer to keep the process open to the best scholarship. Research in Film and History is an open-access journal which means that all content is freely available without charge to the users or their institution. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles, or use them for any other lawful purpose, without asking prior permission from the publisher or the author. Submitting an article to multiple journals simultaneously leads editors (and peer reviewers) to commit scarce resources of time and energy to papers that may be withdrawn because of acceptance elsewhere. • Submission Process (We do not automatically transmit reviews to authors whose manuscripts have been rejected.). We welcome submissions on film, television, radio, sound, and digital media. New York World-Telegram and the Sun Newspaper Photograph Collection staff photographer © original copyright holders. Author Guidelines. The journal offers an international platform for cutting-edge debate, new approaches, and interdisciplinary perspectives on the intersection between the two disciplines film … Submissions for New Approaches section are accepted on an ongoing basis and will be published throughout the year. Manuscripts undergo two stages of peer review, requiring 6-9 months. Who Is the Owner of the Copyright in a Work Made for Hire? The JAH welcomes submissions of articles on all topics related to American history, as well as suggestions for possible historiographical essays, round tables (sets of related articles), "Textbooks and Teaching" themes, and online conversations ("Interchange").. After either the first or second stage of peer-reviewing, an author whose submission has been rejected may ask to receive the information–typically condensed and transferred to e-mail–from the reviewing report(s). (We do, of course, encourage contributors to support the journal through a subscription and through participation in our annual conferences.). The journal was renamed (from Cinema Journal) in October 2018.. JCMS ’s basic mission is to foster engaged debate and rigorous thinking among humanities scholars of film, television, digital media, and other audiovisual technologies. Research in Film and History is an open-access journal which means that all content is freely available without charge to the users or their institution. Please consider the following Style Guide for Authors. Further changes may be then suggested by the General Editor. A LITTLE HISTORY. Research in Film and History welcomes contributions written in English. • Peer Review and Editorial Process Contributions come from all parts of the world. Decisions about argument also represent a compromise whenever matters of clarity, accuracy, evidence, organization, logical flow, or any other matters related to efficacy are involved. Research in Film and History reserves the right to reject an article at any stage of the editing process.Research in Film and History reserves the right not to publish an already revised article. Film & History has been in publication for over fifty (50) years and is described in detail at its website:its web site: www.filmandhistory.org. • Copyright and Licensing Policy • Style Guide for Authors The first stage is a screening report, indicating whether the manuscript is publishable in our journal–a manuscript might be deemed publishable but not presently for our journal (see “Levels of rejection” below). Facebook Under the spell of a group of East Coast-based auteurists (mainly Howard Mandelbaum of New York, and Robert Smith and Jeffrey Wise of the University of Connecticut) and with the help of lithographer brother Michael and a job as a typesetter and film critic at the Clifton-Vine Reporter newspaper in Cincinnati, Gary Morris published the first issue of Bright Lights Film Journal in 1974. Film History focuses on the historical development of the motion picture and the social, technological, and economic context in which this has occurred. Instagram History and Theory accepts no responsibility, and contributors themselves must bear full responsibility, for opinions expressed in contributions published in the journal.Nevertheless, because the journal publishes no letters to the editor, nor any other exchanges in which comments on individuals may be rebutted by them, we have a responsibility not to publish injurious comments. 1 2020 How to Live Together with Her (2013): Posthuman Forms of Roland Barthes’ Idiorrhythmy All submitted articles should be original work and must not be under consideration by other publications. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles, or use them for any other lawful purpose, without asking prior permission from the publisher or the author. Please indicate in the form where images/video/audio clips should appear in the text. For themed issues, please check our News section to read announcements about open calls for articles. New York World-Telegram and the Sun Newspaper Photograph Collection staff photographer © original copyright holders. For the purpose of the foregoing sentence, a “supplementary work” is a work prepared for a publication as a secondary adjunct to a work by another author for the purpose of introducing, concluding, illustrating, explaining, revising, commenting upon, or assisting in the use of the other work, such as forewords, afterwords, pictorial illustrations, maps, charts, tables, editorial notes, musical arrangements, answer material for tests, bibliographies, appendixes, and indexes; and an “instructional text” is a literary, pictorial, or graphic work prepared for publication and intended to be used in systematic instructional activities. Its mission is to bring timely critical and intersectional approaches to criticism and analyses of visual culture. Considered one of the top journals in media studies, our acceptance rate is about 15 percent. Many publishers prefer not to say that a manuscript is “publishable” if it has been rejected; they note its virtues but then emphasize its limitations, leaving an author to believe that the work had not reached a certain level of quality. This right extends to the compression and re-organization of the original argument and/or its examples. Prospective contributors to Film & History are urged to read this page carefully. Film History publishes original research on the international history of cinema, broadly and inclusively understood. For themed issues, please check back later for updates on open calls. By accepting publication, a contributor expressly agrees that his or her published work shall be considered a work made for hire; acceptance constitutes “a written agreement between the parties[,] specifying that the work is a work made for hire” by an “independent contractor.” Please see part 2 of the statutory definition (available at http://www.copyright.gov/circs/circ09.pdf) : Section 101 of the copyright law defines a “work made for hire” as, (1) a work prepared by an employee within the scope of his or her employment or. Le Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques est la principale revue universitaire canadienne d'études cinématographiques évaluée par les pairs. short biography (100–150 words) where you can include your recent publications and current projects (please find examples here: keywords that include: up to six general keywords, up to three film titles, and up to three names that are central for your article. 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