1. Author Guidelines
Comparative Cinema accepts unpublished articles on comparative cinema by authors whose proposals have been previously accepted in the Call for Papers of each thematic dossier. The journal will not accept proposals that are not original. The maximum number of authors per article will be three. The journal will accept texts in English, Spanish and Catalan. If a Spanish or Catalan text is accepted, the author must provide the journal with an English version, and both the English text and the original paper will be published.
- The journal’s main research strands are:
- The interpretation of filmic forms and the relations between films.
- The history of interpretation and the analysis of critical and political contexts.
- Comparative essays on material processes and practices of creation, distribution and exhibition.
- The study of comparative cinema methodologies and its relation to literature and visual arts.
- Reviewing the history of cinema based on the investigation of forms and the aesthetic confluences between films and narrative videos, non-fiction, the avant-garde, scientific, industrial and expanded cinema.
- The essay and visual thought.
The research articles must have a minimum length of 5000 words and a maximum of 6000 words, including footnotes. They should be linked to thematic issues that will be published in the website’s Call for Papers section.
The “Films in Discussion” section includes interviews and conversations aimed at research, debate and documentation, and related to the monographic topics tackled in each issue. The minimum length must be 5000 words and the maximum 8000 words.
The journal will also include some unoriginal documents that will act as the conceptual basis for the themes and research strands proposed in each issue.
The length of the reviews must be between 800 and 1000 words.
The information on the reviewed book should include full name of the author, publisher, city of publication, year of publication and number of pages.
The author of the review must indicate his or her name and email address.
We accept reviews of books whose first edition, in its original language, has been published over the last 8 years.
* From September 15th onwards, Comparative Cinema will start receiving texts for a new miscellaneous section, in which the journal will include articles that have no thematic bond to the proposed monographic issues. From this date on, the reception of these submissions will be carried out continuously throughout the year, but the articles will be published in subsequent issues of the journal, prior coordination with the editors.
2. Guidelines for Submissions
Submission: The texts must be submitted in a Word file and via the RACO OJS platform.
CV/résumé: All articles must be accompanied by a brief CV of 100 words or less. In the case of articles written by more than one author, their CVs will be published separately.
Images: the author must provide a minimum of three images. The comparison of these images must be the basis for the paper. The images must have a minimum resolution of 800 px.
Abstract: Abstracts must be 300 words long or less, and only one paragraph. Abstracts must be submitted in Catalan or Spanish and English.
Keywords: Keywords should include 6–10 words, separated by commas. They must be submitted in Catalan or Spanish and English.
Funding: Authors are responsible for stating the funding and institutional support received for the research.
Typeset and font size: Articles must be submitted in Times New Roman, 12 point. Paragraphs must be justified. The line spacing must be in 1.5 point, both for the main text and for the footnotes. Indents must not be used. Titles and subtitles should be in bold.
Word processing tools: Please refrain from using tools such as tables, numbering, columns, headings, hyperlinks, footnotes, etc. Any numbering must be made manually.
Bibliography: The sources for both the texts and ideas from other authors must be clearly and explicitly identified. Quotes and bibliographical references must follow the Chicago Manual of Style guidelines, and more specifically its Go to Author-Date Style: http://www.chicagomanualofstyle.org
Deadline for submissions: [EXTENDED] January 30th, 2020.
More information HERE.
Godard by Solanas. Solanas by Godard
Jean-Luc Godard and Fernando Solanas
A combative cinema with the people. Interview with Bolivian filmmaker Jorge Sanjinés
Cristina Alvares Beskow
Conversation with Eryk Rocha: The legacy of the eternal
Carolina Sourdis (in collaboration with Andrés Pedraza)
The necessary amateur. Cinema, education and politics. Interview with Cezar Migliorin
Reading Latin American Third Cinema manifestos today
From imperfect to popular cinema
Maria Alzuguir Gutierrez
The return of the newsreel (2011-2016) in contemporary cinematic representations of the political event
José Carlos Avellar
TEN BRINK, Joram and OPPENHEIMER, Joshua (eds.) Killer Images. Documentary Film, Memory and the Performance of Violence
Bruno Hachero Hernández
MONTIEL, Alejandro; MORAL, Javier and CANET, Fernando (coord.) Javier Maqua: más que un cineasta. Volumes 1 and 2
Alan Salvadó Romero
Editorial. The star system in Europe. Star studies today
Núria Bou and Xavier Pérez
Star Studies in Europe
Types of stardom during Franco regime: some dominant formulas
Vicente J. Benet
To capture the ephemeral
Perspectives, models and figures of the study of Italian divismo
Marga Carnicé Mur
White Gypsies: An interview with Eva Woods Peiró
A train that derails, does it exist a European star system? A conversation with Axelle Ropert
The 7 families game: The families of actresses
Cinema and its actors
Asking the directors: What foreign actor’s personality corresponds to...?
Josefina de la Torre
GODART, Caroline. The Dimensions of Difference: Space, Time and Bodies in Women’s Cinema and Continental Philosophy
BRADATAN, Costica; UNGUREANU, Camil (eds.) Cinema and Sacrifice
Rebecca Anne Peters
Editorial. Research into vision. Histories of cinema starting from Marey
Gonzalo De Lucas
Alfonso Crespo, Francisco Algarín Navarro, Peter Kubelka
Genesis of a Camera
Jean-Luc Godard, Jean-Pierre Beauviala
A conversation with Paulino Viota
José Luis Torrelavega
Trusting the images. Science, photography and the world at hand
Notes on the origins of the medical cinematographic gaze
Paula Arantzazu Ruiz
Names are what you see when you look at things
Alex Pena Morado
Associative vision and figurative comparison
Gonzalo De Lucas
ALCOZ, Albert. Resonancias fílmicas. El sonido en el cine estructural (1960-1981)
Sergi Álvarez Riosalido
EISENSCHITZ, Bernard. Punto de partida. Entrevista a Robert Kramer
María García Vera