Comparative Cinema ISSN 2604-9821 (formerly Cinema Comparat/ive Cinema, ISSN 2014-8933) is a biannual publication. Published by the Center for Aesthetic Research on Audiovisual Media (CINEMA) of Pompeu Fabra University (UPF), the journal specializes in the study of comparative cinema and the ways in which cinema is received and interpreted in different social and political contexts.
The publication aims to cover an original area of research, developing and establishing a series of methodologies for comparative studies in film. To that end, it also explores the relationship between film and the traditions of comparative literature, and with other contemporary arts such as painting, photography, music, dance and audio-visual media.
Comparative Cinema is published in English (including original versions of the texts in multiple languages), with issues that come out twice per year.
Comparative Cinema is a publication that approaches cinema using a comparative methodology. It revives, to that end, critical traditions linked to comparative literature studies in order to propose a way of working with images that is catalyzed by the connection between two different objects. Jean-Luc Godard’s text The Cinémathèques and the history of cinema, included in the first volume of the journal, Projection/Montage, established the programmatic principle for this edition and the entire publication: through the programming of different cinematographic pieces (that is, their conjunction), it is possible to articulate connections that cause new meanings to emerge. Comparative film research analyzes the ways in which an image alludes to and leads us to think of other images (from the same film, from the history of film or from other areas) through montage and through the vision generated by the spectator in the screening. The monographic volumes of Comparative Cinema aim to explore how this comparative perspective can enrich film analysis, by considering both the mise-en-scène and the creation processes or the links between cinema and other arts.
For an article proposal to be accepted, it is essential that the starting point should be a comparison, and an explicit one at that. This comparison may refer to two images from the same cinematographic work, images from different works or a cinematographic image compared with a work from another artistic discipline (literature, painting, sculpture, theatre, etc.).
The journal is structured into monographic volumes and will accept proposals for articles, interviews (these may also be round tables) and audio-visual essays on the specified subject. With the exception of the Reviews section, for which we routinely accept texts, the journal will not accept texts that are unconnected with the volume’s theme.
* 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.
Comparative Cinema was founded in 2012 by the Center for Aesthetic Research on Audiovisual Media (CINEMA) of Pompeu Fabra University (UPF) in order to grant continuity to the research studies of the group on comparative cinema, developed through the research projects "Corrientes Estéticas del Audiovisual en el Contexto Europeo" (CEACE, 2003-2006) and "Observatorio del Cine Europeo Contemporáneo" (OCEC, 2006-2012), as well as the conferences and publications derived from these: the four editions of the "Congreso-Muestra Internacional de Cine Europeo Contemporáneo" (CICEC-MICEC, 2005-2008) and the "Congreso Internacional Mutaciones del Gesto en el Cine Europeo Contemporáneo" (2012), on one hand, and the collective volumes Derivas del cine europeo contemporáneo (eds. Domènec Font and Carlos Losilla, 2007) and Poéticas del gesto en el cine europeo contemporáneo (eds. Fran Benavente and Glòria Salvadó Corretger, 2007) on the other.
Although published from 2012 to 2017 under the name Cinema Comparat/ive Cinema (ISSN 2014-8933), with a trilingual edition in Catalan, Spanish and English, the journal modified its designation from the issue number 11 onwards (2018) becoming Comparative Cinema (ISSN 2604-9821), published only in English, but including original texts in other languages.
Since its inception, the journal has explored comparative methodology in order to tackle the connections between programming and montage, the relations between cinema and politics, the creation processes, mise-en-scène (with special emphasis on actors) and the links between film and other arts. To achieve this, the journal has worked with articles by international specialists, though it has also given particular importance to interviews and the re-publishing of documents
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)
Reading Latin American Third Cinema manifestos today
From imperfect to popular cinema
Maria Alzuguir Gutierrez
José Carlos Avellar
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
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
BRADATAN, Costica; UNGUREANU, Camil (eds.) Cinema and Sacrifice
Rebecca Anne Peters
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
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