Film Criticism has recently completed, quietly, thirty-seven years of continuous, on-time publication, a fairly unique achievement among American academic journals in the humanities. Throughout our history, we have been primarily concerned with publishing the finest writing on film regardless of political ideology, critical methodology, or theoretical orientation. As our name suggests, we have required only that papers attend to matters of textual analysis and cinematic form. Aside from the quality of our articles and the steadiness of our publication, we are particularly proud of the significant professional response we have tried to provide to both authors and potential contributors. Very few of the essays we have published have not undergone some kind of revision; just as important, few of the manuscripts we return do not receive suggestions for improvement or re-submission elsewhere. Film Criticism began with the idealistic intention of serving what was, in 1976, a flourishing film culture. Despite the past decade’s dire pronouncements of the death of cinephilia, we continue to pursue our original aspiration and are grateful to the readers and contributors who have sustained us in that mission.
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)
is permitted for manuscripts from outside the United States.
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
Reports usually within 3 months.
Coming in Fall, Special Issue on The Cahiers Critics in Arts Magazine,
Guest Edited by Marco Grosoli
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.
The issue will include:
- Marco Grosoli, Introduction to the Special Issue
- Herve Joubert-Laurencin, Andre Bazin and Arts
- Marc Dambre, Arts and the Hussars in Their Times
- Marco Grosoli, The Politics and Aesthetics of the ‘politique des auteurs”
- Douglas Morrey, Jacques Rivette’s Film Criticism for Arts
- Antoine De Baecque, Eric Rohmer’s Film Criticism for Arts
- Dudley Andrew, Afterword
Coming in Winter, Issue on Identification, Guest Edited by Scott Richmond and Elizabeth Reich
- Damon R. Young, The Vicarious Look, or Andy Warhol’s Apparatus Theory
- James J. Hodge, Gifts of Ubiquity
- Belinda Smaill, New Food Documentary: Animals, Identification, and the Citizen Consumer
- Homay King, Tenuous Frames: Ming Wong’s Persona Performa