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Studies in Documentary Film: Volume: 2 | Issue: 1

Studies in Documentary Film: Volume: 2 | Issue: 1



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Published by Intellect Books
Studies in Documentary Film is the first refereed scholarly journal devoted to the history, theory, criticism and practice of documentary film. In recent years we have witnessed an increased visibility for documentary film through conferences, the success of general theatrical releases and the re-emergence of scholarship in documentary film studies.
Studies in Documentary Film is the first refereed scholarly journal devoted to the history, theory, criticism and practice of documentary film. In recent years we have witnessed an increased visibility for documentary film through conferences, the success of general theatrical releases and the re-emergence of scholarship in documentary film studies.

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Published by: Intellect Books on Aug 19, 2009
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Studies in
ISSN 1750-3280
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Studies in Documentary Film
Volume 2 Number 1 2008
The scope of 
Studies in Documentary Film
Studies in Documentary Film
is a new refereed scholarly journal devotedto the history, theory, criticism and practice ofdocumentary film. This journal will enable a considered approach to international documentaryfilm history, theory, criticism and practice serving a vibrant andgrowing international community ofdocumentary film scholars.The journal published articles and reviews, in English, from researchersthroughout the world seeking to broaden the field ofdocumentary filmscholarship. Some ofthe topics proposed include; New approaches todocumentary history; New developments in documentary theory; Newtechnologies in documentary film; International trends in documentary filmpractice; Formal innovation in documentary film modes; Intersections of documentary practice and theory; Critical accounts ofnational documen-tary movements (particularly largely ignored cinemas); Documentaryauteurs; Political documentary; Critical writing on new documentary films.Prospective guest editors may approach the editor with a proposalfor a themed issue or series. Prospective book reviewers and publishersshould approach the Reviews Editor directly.
Editorial Board
Ian Aitken – Hong Kong Baptist UniversityMoinak Biswas – Jadavpur University West Bengal John Corner – University ofLiverpoolNick Deocampo – Mowelfund Film Institute PhillipinesAnnie Goldson – University ofAucklandHelen Grace – Chinese University ofHong Kong John Hughes – MelbourneBert Hogenkamp – Netherlands Institute for Sound and VisionFernão P. Ramos – State University ofCampinas BrazilKeyan Tomaselli – University ofKwaZulu-Maal, DurbanLee Daw Ming – National University ofthe Arts TaiwanXinyu Lu – Fudan University, ChinaMichael Renov – (USC) Jane Roscoe – SBS Sydney Janet Walker – University ofCalifornia Santa BarbaraWu Wenguang – China
Advisory Board
Chris Berry Goldsmiths – College University ofLondonIb Bondebjerg – University ofCopenhagenStella Bruzzi – Royal Holloway University ofLondonSteve Lipkin – I Western Michigan UniversitySheila Schvarzman – State University ofCampinas BrazilBelinda Smaill – Monash UniversityDiane Waldman – University ofDenverCharles Wolf– University ofCalifornia, Santa Barbara
 Journal Editor
Deane Williams
Film and Television StudiesSchool ofEnglish Communications andPerformance StudiesMonash UniversityBuilding 11A Clayton CampusWellington RoadClayton 3800Melbourne, AustraliaTel: +61 (3) 9905-4226E-mail:deane.williams@arts.monash.edu.au
Editorial Assistant
Sally Wilson
Associate Editors
Derek Paget
Reading University UK
Abé Mark Nornes
University ofMichigan
Book Reviews Editor
Helen Grace
ProfessorDepartment ofCultural andReligious StudiesHui Yeung Shing Building,Chung Chi CollegeThe Chinese University ofHong Kong,Shatin, Hong KongTel: (852) 2609-6623E-mail: helen@arts.cuhk.edu.hkPrinted and bound in Great Britainby 4edge, UK.ISSN 1750–3280
Studies in Documentary Film
is published three times per year by Intellect,
The Mill, Parnall Road, Bristol, BS16 3JG, UK. The current subscription rates are£33 (personal) and £210 (institutional). Postage within the UK is free whereasit is £9 within the EU and £12 elsewhere. Advertising enquiries should beaddressed to: marketing@intellectbooks.com© 2008 Intellect Ltd. Authorisation to photocopy items for internal or personaluse or the internal or personal use ofspecific clients is granted by Intellect Ltd forlibraries and other users registered with the Copyright Licensing Agency (CLA) inthe UK or the Copyright Clearance Center (CCC) Transactional Reporting Servicein the USA provided that the base fee is paid directly to the relevant organisation.
Anon.’ for items for which you do nothave an author (because all items mustbe referenced with an author withinthe text)year date ofpublication in bracketscommas, not full stops, between partsofitemabsence of‘in’ after the title ofa chapterwithin a monograph, but please use ‘in’after chapters in edited volumes • nameoftranslator ofa book within bracketsafter title and preceded by ‘trans.’, not‘transl.’ or ‘translated by’absence of‘no.’ for the journal numbercolon between journal volume andnumber‘p.’ or ‘pp.’ before page extents
Web references
These are no different from otherreferences; they must have an author, andthat author must be referenced Harvard-style within the text. Unlike paperreferences, however, web pages canchange, so we need a date ofaccess aswell as the full web reference. In the list of references at the end ofyour article, theitem should read something like this:Collins, F. (2006), ‘Memory in Ruins; theWoman Filmmaker in her Father’s Cinema,http://www.latrobe.edu.au/screeningthepast/firstrelease/fr1201/fcfr13a.htmAccessed 3 December 2006.
Notes appear at the side ofappropriatepages, but the numerical sequence runsthroughout the article. Notes should be keptto a minimum. In general, ifsomethingis worth saying, it is worth saying in thetext itself. A note will divert the reader’sattention away from your argument. Ifyouthink a note is necessary, make it as brief and to the point as possible. Use Word’snote-making facility, and ensure that yournotes are endnotes, not footnotes. Place notecalls outside the punctuation, so AFTERthe comma or the full stop. The note callmust be in superscripted Arabic (1, 2, 3).
Articles may be accompanied by images.It is the author’s responsibility to supplyimages and ensure they are copyrightcleared. Images should be scanned at300 dpi resolution, saved as tifffiles,and sent electronically to the Editor atSDF@intellectbooks.com.Do NOT insertimages into a word document. Pleaseensure you insert a figure number at theappropriate position in the text, togetherwith a caption and acknowledgement tothe copyright holder or source.
We follow the Library ofCongresstransliteration, using a straight apostrophe:for the soft sing and a curly invertedcomma ‘as apostrophe and for quotations.Quotations must be within the body of the text unless they exceed approximatelyfour lines ofyour text. In this case, theyshould be separated from the body ofthetext and indented.Omitted material should be signalledthus: [...]. Note that there are no spacesbetween the suspension points.Avoid breaking up quotations with aninsertion, for example: ‘This approach to
’, says MacPherson, ‘is notsufficiently elaborated’ (MacPherson1998: 33).
The first mention ofa film in the article(except ifit is in the title) should includeits original title, the director’s surname(not Christian name), and the year of release, thus:
The Man with a Movie Camera
Chelovek s kino-apparatom
, Vertov, 1929).In all subsequent references the titleshould be translated into English, unlessthe film is known in all markets by itsoriginal title, for example
San Soleil
We use the Harvard system forbibliographical references. This meansthat all quotations must be followed bythe name ofthe author, the date ofthepublication, and the pagination, thus:(Walker 2005: 15). PLEASE DO NOTuse ‘(ibid.)’. Note that the punctuationshould always FOLLOW the referencewithin brackets, whether a quotation iswithin the text or an indented quotation.Your references refer the reader to abibliography at the end ofthe article,before the endnotes. The headingshould be ‘Works Cited’. List the itemsalphabetically.Here are examples ofthe most likely cases:Anon. (1931), ‘Stalin i kino’,
,28 January 1931.Aitken, I. (1989), ‘John Grierson,Idealism and the Inter-war Period,
Historical Journal ofFilm, Radio and Television
, 9.3, pp. 247–258.Corner, John. (1996),
The Art ofRecord:A Critical Introduction to Documentary
,Manchester: Manchester UP.Youngblood, Denise. (1991a),
SovietCinema in the Silent Era, 1918–1935,
Austin: UniversityofTexas Press.
 — (1991b) “History” on Film: thehistorical Melodrama in Early SovietCinema’,
Historical Journal ofFilm, Radioand Television
, 11: 2, pp. 173–184.
Dermody, Susan. (1995), ‘The Pressureofthe Unconscious Upon the Image: TheSubjective Voice in Documentary’, inLeslie Devereaux and Roger Hillman (eds)
Fields ofVision: Essays in Film Studies,Visual Anthropology and Photography.
Berkeley and Los Angeles: UniversityofCalifornia P, pp. 292–310.
Notes for Contributors
Articles submitted to
Studies inDocumentary Film
should be original andnot under consideration by any otherpublication. They should be written in aclear and concise style.
The journal uses standard British English.The Editors reserve the right to alter usageto these ends.
Studies in Documentary Film
is a refereed journal. Strict anonymity is accorded toboth authors and referees.
The views expressed in
Studies inDocumentary Film
are those oftheauthors, and do not necessarily coincidewith those ofthe Editors or the Editorialor Advisory Boards.
Submit the article as an emailattachment in Word or in RichText Format.Your article should not normally exceed8,000 words (excluding ‘Notes’), butlonger pieces ofup to 10,000 wordsmay be considered.Include an article abstract of150–200words; this will go onto the Intellectwebsite.Include a short biography in the thirdperson, which will be included in the journal issue. Please also give yourcontact details, and an email address,ifyou wish.Provide up to six keywords for Indexingand abstracting services.Place these items at the beginning of your file, with the headings ‘Abstract’,‘Contributor’s Details’, and ‘Keywords’.
The title ofyour article should be inbold at the beginning ofthe file,without inverted commas.The text, including the notes, should bein Times New Roman 12 point.The text, including the endnotes, mustbe double-spaced.The text should have at least 2.5 cmmargins for annotation by theeditorial team.You may send the text justified orunjustified.You may, ifyou wish, break up your textwith sub-titles, which should be set inordinary text and bold, not ‘all caps’.
Quotations must be in English. Forreasons ofspace we cannot publishthe original text.
Quotations must be within single invertedcommas. Material quoted within cited textshould be in double inverted commas.
Any matters concerning the format and presentation ofarticles not covered by the above notes should be addressed to the Editor.The guidance on this page is by no means comprehensive: it must be read in conjunction with Intellect Notes for Contributors.These notes can be referred to by contributors to any ofIntellect’s journals, and so are, in turn, not sufficient; contributors willalso need to refer to the guidance such as this given for each specific journal. Intellect Notes for Contributors is obtainable fromwww.intellectbooks.com/journals, or on request from the Editor ofthis journal.

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