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Black Camera

Call for Submissions

Close-Up: Selma: The Historical Record and the American Imaginary

The 2015 release of the Oscar-nominated film Selma, directed by Ava DuVernay, offers the opportunity to revisit not only the significance of the historical figures and events depicted on screen, but also the cultural impact of cinema and its capacity to both reflect upon and critique historical activity. Indeed, Selma and the considerable press it has received become an index to gage both the legacy of the civil rights movement and the status of race relations in the fraught contemporary moment.

As with many works in the historical film genre, Selma has won acclaim and generated controversy in equal measure. The film has been applauded for its powerful historical reenactments, characterizations of Martin Luther King Jr., Coretta Scott King, and other protagonists of the period, and its depiction of the protest movement spawned by the violence and injustice of Jim Crow. Conversely, Selma has been criticized for its alleged historical misrepresentations, particularly the depictions of Lyndon Baines Johnson and of the Student Nonviolent Coordinating Committee.

Submissions may interrogate issues of race, class, and/or gender, through thematic, historical, and sociocultural contexts. Other topics might include but are not limited to narrative strategies, genre studies, psychoanalytic/feminist readings, sexuality, black female bodies, masculinity, whiteness, violence, the revenge motif, fugitivity narratives, revisionist historiography, the black vernacular aesthetic tradition and signifying, classic Hollywood filmic stereotypes, the audio/visual landscape of the film, musical scoring, reception, exhibition, marketing/publicity, and distribution.

We welcome submissions exploring Selma from a variety of disciplinary and analytical perspectives for publication consideration. Essays, film reviews, and commentaries will be considered. Essays should be 4,000–6,000 words, commentaries 1,000–2,000, and film reviews 500–1,500 words.

Suggested topics include Selma’s production, exhibition, and reception histories, as well as formal and conceptual analyses of the film as a text. Other suggested lines of inquiry are Selma’s relevance to
• contemporary U.S. race relations
• mediations of posterity, memory, and history
• historical accuracy and “truth” in relation to revisionist history or ideological motivation
• the filmmaker’s intentionality and project of recovery
• interrogation of the notion of the “postracial”
• African American women filmmakers in Hollywood
• the biopic and/or the historical film as genres
• transnationalism

Please submit completed essays, a 150-word abstract, and a 50–100 word biography by January 1, 2016. Submissions should conform to the Chicago Manual of Style, 16th edition. Please see journal guidelines for more on the submission policy.

Direct all questions, correspondence, and submissions to co-editor Mark Hain (blackcam@indiana.edu).

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Close-Up: Django Unchained

Black Camera invites submissions for a Close-Up devoted to the film Django Unchained (dir. Quentin Tarantino, 2012). In shifting the visual terrain of black masculinity, Django Unchained’s break from normative representations opens the film to a wide range of critical inquiries.

The editor seeks short essays from various disciplines that engage Django Unchained from diverse critical perspectives: theoretical, sociopolitical, and aesthetic; and that examine the film’s intertextuality with related works of cinema, literature, and/or visual culture.

Submissions may interrogate issues of race, class, and/or gender, through thematic, historical, and sociocultural contexts. Other topics might include but are not limited to narrative strategies, genre studies, psychoanalytic/feminist readings, sexuality, black female bodies, masculinity, whiteness, violence, the revenge motif, fugitivity narratives, revisionist historiography, the black vernacular aesthetic tradition and signifying, classic Hollywood filmic stereotypes, the audio/visual landscape of the film, musical scoring, reception, exhibition, marketing/publicity, and distribution.

Essays, film reviews, and commentaries will be considered. Essays should be 3,000–4,000 words, commentaries 1,000–2,000, and film reviews 500–1,500 words.

Please submit completed essays, a 150-word abstract, and a 50–100 word biography by December 1, 2015. Submissions should conform to the Chicago Manual of Style, 16th edition. Please see journal guidelines for more on the submission policy.

Direct all questions, correspondence, and submissions to Guest Editor Joi Carr (joi.carr@pepperdine.edu).

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General Call for Submissions

In conjunction with Indiana University Press, the Black Film Center/Archive (BFC/A) at Indiana University, Bloomington, is pleased to announce the publication of Black Camera, an academic and peer-reviewed international journal.

Devoted to the study and documentation of the black cinematic experience, Black Camera is published biannually and is the only scholarly film journal of its kind in the United States.

It features essays and interviews that engage film in social as well as political contexts and in relation to historical and economic forces that bear on the reception, distribution, and production of film in local, regional, national, and transnational settings and environments.

The journal also comprises research and archival notes, editorials, reports, and book and film reviews, and addresses a wide range of genres, including documentary, experimental film and video, diasporic cinema, animation, musicals, comedy, and so on.

The Editor invites submissions by prospective contributors relevant to the following areas:

  • Reconsideration of key black “classic” films
  • Black (and other related postcolonial and Third World) programmatic film statements and manifestos
  • Black sexuality in film
  • Black filmmaking and cinematic formations in Europe
  • Archival film documents
  • Slavery and anticolonial struggles in the historical film
  • Lusophone and francophone African cinemas
  • Sub-Saharan African cinema
  • Cinemas of the Maghreb
  • Black Hollywood
  • Black animation
  • Women filmmakers of the African diaspora
  • Caribbean cinemas
  • Reception studies
  • Film directors, screenwriters, actors
  • Black independent filmmaking
  • Other moving image media (television, new media, etc.)

The Editor gratefully acknowledges the support of the Department of Communication and Culture, and the College of Arts and Sciences, Indiana University, Bloomington.

Please direct questions and submissions to:

blackcam@indiana.edu
(812) 856-7664

Black Camera
c/o Black Film Center/Archive
Wells Library, Room 044
1320 East Tenth Street
Bloomington, IN 47405

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Submission Guidelines

  • Feature articles, essays, and interviews can be 8,000-10,000 words.
  • Commentaries can be 1,000-2,000 words.
  • Book and film reviews can be 500-1,500 words (exceptions will be considered for review essays).
  • All submissions should be double-spaced, use 12-point Times New Roman font, and have page numbers in the upper right corner.
  • Authors must provide any illustrations and captions and are responsible for obtaining all permissions required to publish an illustration. Illustrations should be submitted as JPG, TIF, or EPS files, preferably of at least 300 pixels per inch.
  • Authors submitting images should be sure to indicate within the text where the image should be placed by inserting the designation “(fig. 1),” “(fig. 2),” etc. at the end of the sentence referencing the image. Please also provide any caption text in a separate document.
  • Submissions should be submitted either electronically by e-mail attachment as a Microsoft Word document. Please complete and include the Black Camera Contributor form with any submission:
    Black Camera Contributor form (PDF)
  • An endnote citation format is required for scholarly essays. Contributors should consult the latest edition of The Chicago Manual of Style.
  • An abstract of 150-250 words must be included.
  • Please include brief biographical statement, affiliation, and contact information.
  • Regrettably, we can neither respond to, nor guarantee publication of, nor return unsolicited manuscripts.
  • We reserve the right to make editorial and stylistic changes.
  • If a submission is selected for publication, a signed Memorandum of Agreement will be sent and must be signed before publication.

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