|Allegheny College, Meadville, PA 16335|
Founded in 1976, Film Criticism recently completed its thirty-seventh year of continuous publication, making it the third oldest academic film journal in the country. FC has published the work of such international scholars as Dudley Andrew, David Bordwell, David Cook, Robin Wood, Janet Staiger, Ann Kaplan, Andrew Horton, Wheeler Winston Dixon, Marcia Landy, and Peter Lehman. Equally important, we continue to present the very best writing from a new generation of film historians, theorists, and critics representing many different disciplines, cultures, and critical perspectives. "The critical analysis found in the essay-length articles is of a particularly high quality... Researchers will profit from the excellent book review section " (Katz's Magazines for Libraries). In addition, Film Criticism regularly publishes single-theme issues, extensive interviews, and festival reports.
Film Criticism in Transition
announced my retirement from Allegheny College at the conclusion of the current
academic year after 42 years on the faculty.
I will continue to edit Film Criticism for one additional year
before turning over the position to my colleague, Joe Tompkins, in the summer
Call for Papers: Special issue of Film Criticism: New Approaches to Cinematic Identification
Cinematic identification was once at the heart of film theory and film criticism. Jean-Louis Baudry and Christian Metz’s initial and influential formulations, however, have been critiqued from two directions. Feminist film scholars initiated perhaps the most important critique of identification, that grounded in identity. Later, black, queer, and postcolonial film scholars extended this line of thinking, further problematizing the early monolithic accounts of cinematic identification. While acknowledging that processes of identification are fundamental to the cinema, their accounts sought to include subject positions other than those of straight, white males. What we had were cinematic identifications, plural, not singular.
At roughly the same time, these psychoanalytical articulations of cinematic identification were challenged. Specifically theoretical in nature, historicist, cognitivist, Deleuzean, and phenomenological criticisms argued either that the nature of cinematic identification was fundamentally different than Metz and Baudry had claimed—or that cinematic identification did not take place at all.
Processes of identification are
far stranger and more complex than any accounts have yet been able to
acknowledge. This special issue of Film Criticism, “New Approaches
to Cinematic Identification,” will draw together essays
that revisit cinematic identification, re-posing it as a
productive problem for theorizing about the cinema and other
—identity and identification (queers and identification, women and identification, racialized subjects and identification, etc.)
—identification and (de)colonization
—psychoanalysis beyond Freud and Lacan: identification in post-Freudian or object-relations theory
—identification and affect
—diffuse, attenuated, failed, or suspended identification in moving image media
—identification and phenomenology, identification and Deleuze, identification and cognitive film theory
—dis-identification in the cinema
—historicist approaches to cinematic identification
—identification and genre, identification and form
—aesthetics and identification
—the politics of identification, identification and politics
—cinematic identification as a problem for new media studies: television, games, digital media, etc.
Submissions should be sent to the editors: Elizabeth Reich (Wayne State University, email@example.com) and Scott C. Richmond (Wayne State University, firstname.lastname@example.org). These should be in typical file formats (.doc, .docx, .rtf, .pdf). Please include a 250-word abstract in the email, along with a brief author bio. Submissions should be no longer than 8,000 words (including footnotes and endnotes). Submissions should be received no later than April 15.
Coming in Fall, 2014
Famously, Jean-Luc Godard, Jacques Rivette, Eric Rohmer and François Truffaut all wrote for the Cahiers du Cinéma journal (run by André Bazin) before becoming renowned filmmakers. Yet, at the same time, they all also wrote for Arts, a very controversial weekly magazine that was no less decisive in imposing their “politique des auteurs”, the cult of cinematic authorship that proved immensely influential on film culture ever since. This special issue collects essays derived from the talks delivered at symposium held in Canterbury in June, 2014. Their purpose is to reconsider the neglected and in some cases downright unknown body of writings these critics published in Arts, and to give thereby a more accurate view of what the “politique des auteurs” originally was.
January 17th. 2014
General Call For Manuscripts
Manuscripts (maximum 6000 words) for Film Criticism should be submitted in duplicate and use MLA style for documentation. A report from the editor will normally be returned within three months.
Electronic submission (Word attachment)
We invite proposals for special issues. Please request a copy of "Guidelines for Guest Editors."
We recommend queries from potential authors before manuscript submission.
15-20% acceptance rate