Journal of Film & Video
Official Journal of the University Film & Video Association
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The Journal of Film and Video, an internationally respected forum, focuses on scholarship in the fields of film and video production, history, theory, criticism, and aesthetics. Article features include film and related media, problems of education in these fields, and the function of film and video in society. The Journal does not ascribe to any specific method but expects articles to shed light on the way we view and teach the production and study of film and video.
The Journal of Film and Video is the official publication of the University Film & Video Association.
Abstracts of Popular Culture, Academic Search Premier, Arts & Humanities Citation Index, Book Review Index, Communication Abstracts, Current Contents: Art and Humanities, ERIC, Expanded Academic ASAP, FIAF International Film Archive Database, Film Literature Index, International Bibliography of Periodical Literature in All Fields of Knowledge, International Index to Film Periodicals, International Index to the Performing Arts (IIPA), MLA International Bibliography, OCLC ArticleFirst, ProQuest 5000, ProQuest Career and Technical Education, Proquest Research Library, Research Library, Scopus, Wilson Art Full Text, Wilson OmniFile Full Text
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Journal of Film and Video
Manuscripts intended for publication, including reviews, should be submitted electronically through the Journal of Film and Video online manuscript submission system. This secure, personalized resource will allow you to track your manuscript through each step of the review and acceptance process. To begin, click here to set up your personal account and upload your submission. Your transmitted material will be reviewed as soon as possible.
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Since submissions are reviewed anonymously, author names should be removed from the article, including running heads, references, and notes. The document should be US letter size, and page numbers should appear at the top right of all pages after page 1. All parts of the article must be double spaced, with 1" margins. Photographs or illustrations should be numbered and sent as separate supplementary files in the online upload system, with the desired location clearly indicated in the main text. All photos and illustrations should be submitted as separate TIFF image files with image quality of at least 300 dpi. These should be accompanied by captions, credit lines, and secured permission(s) for reprint, and their desired location should be clearly indicated in the main text.
Manuscripts and reviews should be prepared following the MLA Handbook (Eighth Edition, 2016). An electronic file prepared in Microsoft Word is required for publication. Notes and list of works cited are to appear on pages at the conclusion of the article. The Journal is committed to a policy of nonsexist language; authors are urged to keep this in mind. The editors reserve the right to alter phrasing and punctuation in articles and reviews accepted for publication.
The Journal of Film and Video focuses on scholarship in the fields of film and video production, history, theory, criticism, and aesthetics. It is receptive to articles of 12-35 typewritten pages about film and related media, problems of education in these fields, and the function of film and video in society. The Journal does not ascribe to any specific method as long as the article sheds light on the way we view and teach the production and study of film and video. We ask that the purpose of the article be clearly stated, that its evidence be related to its purpose, and that its conclusions flow from the evidence provided. All articles represent the views of their authors and are not necessarily those of the Journal of Film and Video or the University Film and Video Association.
From the Opening Sequence of Citizen Kane to the Final Shot of The Birds: A Filmic Microanalysis of Three Painted Scenes
Dario Lanza Vidal
UFVA's 2020 Virtual Conference: A Path Forward
Laura Vazquez and Wenhwa Ts'ao
Atomic Tests: Experimental Filmmaking in the Nuclear Era
To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean's Summertime
Alison L. McKee
The Imaginary in the Biopic: Deconstructing Convention in Ron Howard's A Beautiful Mind (2001)