The Cine-Files is now accepting submissions (4000-6000 words) for the featured scholarship segment of Issue 12 (Spring 2017), a special commemorative issue on Chris Marker and Jacques Rivette.
An aura of mystery surrounds Jacques Rivette and Chris Marker. Little is known of the private identities of these reclusive and elusive figures, other than their mutual regard and affection for cats. We remember them through their films, which continue to redefine the art of cinema around the world.
In memory of their recent passing, Issue 12 is dedicated to the films and artistic legacy of Jacques Rivette and Chris Marker. Both directors, associated with the Right and Left Bank of postwar filmmaking, respectively, established their careers in 1950s France; both began their careers as writers (Rivette as a critic at Cahiers du cinéma, Marker as a novelist and critic at Esprit); both are associated with cinéma vérité and filmmaker Jean Rouch; both reflect (and reflect upon) the influence of surrealism; a concern with temporality is central in both their oeuvres. Upon reflection, other intriguing similarities and differences emerge, calling attention to their personal auteurist signatures.
This Call for Papers invites you to explore an aspect(s) of either Rivette or Marker’s work, or to compare/contrast elements of their work. Film stills are welcome, and where possible clips will be published with the dossier.
Submissions must be received by 30 November, 2016. DEADLINE HAS BEEN EXTENDED TO JANUARY 16, 2017.
Possible topics include but are not limited to:
Rivette and/or Marker; New Wave roots, Right and Left Banks
Rivette and/or Marker; the critic
Rivette and/or Marker; film genre (s)
Rivette and/or Marker; theatricality, performance, acting
Rivette and/or Marker; temporality, duration
Rivette and/or Marker; cinéma vérité and Jean Rouch
Rivette and/or Marker; experimental sound practice
Rivette and/or Marker; history and cultural memory
Rivette and/or Marker; the influence of surrealism
Rivette and/or Marker: film and the other arts
Obviously, the possibilities are too numerous to list here. If you want to discuss a proposal idea, issue 12’s guest editor Mary Wiles will be happy to discuss it with you. Email firstname.lastname@example.org
Mary Wiles is a Senior Lecturer in Cinema Studies at University of Canterbury, Christchurch, New Zealand. She is the author of Jacques Rivette (University of Illinois Press, 2012) and numerous articles on New Zealand film, French and New German cinemas.
Essays (4000-6000 words) should be accompanied by a brief email indicating the essay title, author’s name, institutional affiliation and contact information. The Cine-Files practices double blind review for its featured scholarship selections, thus the essay must not contain the name of the author or any reference to the author. Please include a single paragraph abstract at the beginning of the essay and email your submission (with essay attached as a doc) to Tracy Cox-Stanton, email@example.com.
Submissions must be received by 16 January, 2017.
Citation Style: The Cine-Files follows Chicago Manual of Style, 16th Edition, using endnotes, with Arabic (not Roman) numerals. If your endnotes cover all bibliographic information, we do not require an additional bibliography.
Spelling: We permit writers to use their native spelling conventions.
Punctuation: We ask that all writers conform to U.S. punctuation conventions. For example, we require double quotation marks for quoted material, and single quotation marks for quotes within those quotes. Commas and periods typically go inside the quotation marks.
For example, correct use of quotation marks within an essay:
“Economic systems,” according to Professor White, “are an inevitable byproduct of civilization, and are, as John Doe said, ‘with us whether we want them or not.’”
A good guide to clarify U.S. punctuation conventions: http://www.thepunctuationguide.com/british-versus-american-style.html
Block quotes: A prose quotation of five or more lines should be blocked (each line indented). A block quotation does not get enclosed in quotation marks. Quotes within a block quote would appear in double quotation marks.
Images: You may use images within your essay. We ask you to use no more than 6 images, unless you have a special case for including more. Images must be emailed separately as JPGs rather than embedded into your MS Word doc. In the doc, just indicate in all caps “FIG. 1: CAPTION TEXT” in the space where you want the image to appear.
Film clips: You may include a film clip within your text as well. We work with Critical Commons—www.criticalcommons.org. If you upload your film clip to their site and send us the link, we can embed it in your essay. You can find all the details on their site, but they require a short paragraph of critical commentary (you can copy that from your essay) to justify the clip as fair use.