The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by IntellectBooks in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms ofartists’ moving image and media artworks.
The editors invite contributions from art historians and critics, film and media scholars, curators, and, not least, practitioners. We seek pieces that offer theories of the present moment butalso writings that propose historical re-readings. We welcome essays that:
- re-view canonical works and texts, or identify ruptures in the standard histories of artists’ film and video;
- discuss the development of media arts, including the history of imaging technologies, as a strand within the history of art;
- address issues of the ontology and medium-specificity of film, video and new media, or the entanglement of the moving image in a ‘post-medium condition’;
- attempt to account for the rise of projected and screen-based images in contemporary art, and the social, technological, or political-economic effects of this proliferation;
- investigate interconnections between moving images and still images; the role of sound; the televisual; and the interaction of the moving image with other elements including technology, human presence and the installation environment;
- analyse para-cinematic or extra-cinematic works to discover what these tell us about cinematic properties such as temporal progression or spectatorial immersion or mimetic representation;
- explore issues of subjectivity and spectatorship;
- investigate the spread of moving images beyond the classical spaces of the cinema and galleries, across multiple institutions, sites and delivery platforms;
- consider the diverse uses of the moving image in art: from political activism to pure sensory and aesthetic pleasure, from reportage to documentary testimony, from performativity to social networking;
- suggest new methods of theorizing and writing the moving image.
We welcome work that intersects with other academic disciplines and artistic practices. We encourage writing that is lucid without compromising intellectual rigour.
We publish the following types of writing: scholarly articles (5000–8000 words); opinion pieces or polemics (1000 words); feature articles and interviews (3000 words); reviews of books, exhibitions, and events (1500–3000 words). Scholarly articles will be blind peer-reviewed and feature articles can be peer-reviewed on request. All writings should propose a central idea or thesis argued through a discussion of the work under review.
For issue 2.2, the features section will include themed articles on “Illusion.” We welcome submissions that address the broad resonances of this theme in artists’ moving image, including but not limited to: the politics of anti-illusionism, its history, and its contemporary repercussions; ideology as illusion; magic and the moving image; special effects; illusionism and virtuality; computer-generated imagery; the relevance of historical and contemporary theoretical conceptions of illusion to experimental practices; the unreliability of vision.
All submissions should be in English and adhere to the Intellect Style Guide (http://www.intellectbooks.co.uk/journals/page/index,name=journalstyleguide/).
Please submit completed manuscripts only. Send all contributions and proposals by e-mail in DOC or RTF format to the Editorial Assistant: email@example.com
Deadline: 11th January 2013
Founding Editor: Catherine Elwes, CCW Graduate School, University of the Arts London.
Associate Editors: Sean Cubitt, Goldsmiths, University of London; Eu Jin Chua, Unitec, New Zealand; Janine Marchessault, York University, Canada.
Reviews Editor: Pryle Behrman, Writtle School of Design, University of Essex.
Features Editors: Erika Balsom, Carleton University, Canada; Lucy Reynolds, Central Saint Martins, University of the Arts London.
Editorial Assistant: Kate Pelling, CCW Graduate School, University of the Arts London.
Editorial Board: Rachel O. Moore, Goldsmiths, University of London; A.L. Rees, Royal College of Art, London.
The International Advisory Board includes:
Mark Bartlett; Suzanne Buchan; Ian Christie; Stuart Comer; Maeve Connolly; David Curtis; T.J. Demos; Thomas Elsaesser; Stan Frankland; Amrit Gangar; David E. James; Laura Mulvey; Mark Nash; Michele Pierson; Catherine Russell; Tom Sherman; Lisa Steele.