Deadline for Abstracts: 1 May 2014

The Historical Journal of Film, Radio and Television welcomes articles which
examine aspects of early film theory from a historical perspective.
Audio-visual culture has always been accompanied with ­and even shaped by ­
generalising ideas about its inherent characteristic and meaning. From the
early days of film, intellectuals, practitioners and scholars have been discussing the inimitable properties or communalities of different media. In
so doing, they focus on different aspects, including aesthetics, narrative
possibilities, the relation of audio-visual images to specific socio-cultural and political contexts and their eventual effects. Whilst film theories help to explain more general aspects beyond isolated case studies ­and thereby offer assumptions towards a more comprehensive understanding of filmic images they also play a role in the development of academic subjects and schools of thoughts. Given that all theories, regardless of their aim or scope, are the product of specific historical and ideological circumstances, it is important to take these contexts into consideration when using or referring to such thoughts. Ahistorical approaches, which tend at discretion to apply theories without acknowledging their origin or evolution to any past or contemporary film, ought thus to be questioned.

The theme issue of the Historical Journal of Film, Radio and Television explores the history of film theory. It looks specifically at theoretical ideas and debates up until the 1940s. Its wide focus invites original submissions on a variety of aspects. Articles that are based on primary sources (archival documents, contemporary journals, etc.) and/or the impact of theory are particularly welcome. Topics may feature analyses of select theorists, the development of schools of thought, film reception, the dissemination of theory (e.g. in trade and specialist journals or academic writing), approaches to media social theory and ways to implement theory into practice. Topics of film and cinema theory not included in the above list are also welcome. International perspectives and comparative approaches are strongly encouraged.

Please feel free to contact the guest editors Tobias Hochscherf
( or Katharina Niemeyer
( if you have any queries. A 150-250 word
proposal alongside a brief biographical note should be submitted to the
editors by 1 May 2014.

All final submissions are subject to the journal’s customary blind
peer-review process. The theme issue is to appear in print in summer 2016.

Call for submissions: Diffractions – Graduate Journal for the Study of Culture

Issue 3 – September 2014


Deadline for article submissions: May 15 2014

If the Great War, whose centenary is commemorated this year, is often deemed as the birth of modern warfare, it is also the antechamber of modern war representation, laying the foundations of representational strategies that would become recurring in the visualisation of subsequent conflicts. Indeed, modern war is a product of both imaginary and material forces. As George Roeder has contended, war is a “way of seeing” (Roeder, 2006) couched in templates and prescriptions that organise the visual experience of war while at the same time containing the impact of its conduct. The visual mediation of war reflects ideological conceptions, manages anxiety and vents social fantasies. In fact, the recent visual history of war seems to mirror a growing demand for visibility, from Baudrillard’s claim that “the Gulf war did not take place” (Baudrillard, 1991) due to its contained imagery, to the pluralisation and dissemination of multiple images, from surveillance footage to soldier’s private videos, as the case of Abu Ghraib has shown not so long ago.

At the same time, this demand for visibility is often hampered by dynamics of opacity that regulate and obstruct the visualisation of war in spite of the proliferation of warfare images. In addition, as many authors have begun to argue, images themselves have become a central instrument not only for understanding war but also to actually waging war, replacing techno-war as the dominant warfighting model (Mitchell, 2011; Roger, 2013). With new logics of creation, consumption and reproduction emerging within a convergence culture, the conditions of seeing and showing war are nevertheless haunted by past conflicts and by visual reconceptualisations of them. This issue aims at reflecting upon the manifold ways war has been brought to the screen in various genres and at different historical moments.

Themes to be addressed by contributors may include but are not restricted to the following:

– Audiovisual representation of war past and present

– Artistic renditions of war

– Terror and spectacle

– Cyber war, surveillance, inside views of war

– Convergence, post-convergence and participatory culture

– Representations of captivity

– Visibility and opacity of war

– Violent images and images of violence

– Reporting war and the ethics of seeing

– Agency, resistance and citizenship

– War iconography across the ages

– War and (post-)memory

– War and gender

– Homefronts and homecomings

– Aftermath, conciliation and peacemaking

We look forward to receiving articles of no more than 20 A4 pages (not including bibliography) and a short bio of about 150 words by May 15, 2014 at the following

DIFFRACTIONS accepts submissions in Portuguese, English and Spanish.

DIFFRACTIONS also accepts book reviews that may not be related to the issue’s topic. If you wish to write a book review, please contact us at

Please submit your contributions according to the journal’s guidelines.

Find us online at and

Internship – Film Archive Intern, Yale Film Study Center

The Yale Film Study Center seeks a Film Archive Intern to work in the FSC’s
film archive under the direction of the Archive & Special Collections
Manager. Primary duties include film inspection, inventory, and cataloging,
as well as special projects pertaining to individual collections within the

Duties and Responsibilities:

. Inspecting archival materials, including 16mm and 35mm prints and
negatives, as well as audio elements.
. Cataloging print and pre-print elements in the archive’s FileMaker Pro
database, collecting data including condition notes and provenance
information, as well as researching other relevant information if necessary.
. Inventorying, re-housing, and labeling incoming collections.
. Correlating acquisition information among paper records, the film
collection database, and elements on hand.
. Working and communicating with Film Study Center staff on
collection-related activities.

Qualifications and Requirements:

. Experience in the operation of film handling and editing equipment as well
as film viewing equipment.
. Working knowledge of film history and technology.
. Ability to establish and maintain cooperative working relationships with
Film Study Center staff.
. Ability to lift at least 25 lbs. and retrieve items from shelves.
. Degree (or current enrollment) in a moving image archive studies program
or equivalent preferred.
. Experience in using FileMaker Pro or similar database preferred.

The internship is a ten week-long, paid position, though the job does not
cover costs of relocation or housing. The internship will run from June 2 to
August 8, 2014.

To apply, please submit your cover letter and resume via email to by Friday, April 18, 2014.

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