Call for BOOK REVIEWS: Film Technology
Mediascape Call for Book Reviews
Spring 2017: Film Technology
For the Reviews section of its Spring 2017 issue, Mediascape, UCLA’s journal of cinema and media studies, invites reviews of scholarly works dealing with film technology.
Technology has transformed the space of the home cinema, where cinephilia and technophilia converge in viewers’ efforts to consume and control media with increasingly sophisticated devices. It has also introduced the possibility of watching movies on ever-smaller screens. Streaming services have significantly shifted the landscape of film distribution as well as production. In the past two decades, scholars interested in film technology have attempted to account for the diverse and constantly shifting ways we encounter cinema. How has the current saturation of everyday existence with a network of integrated media platforms and their screens affected the “place” of cinema in society?
Mediascape’s Reviews section invites papers that aim to analyze, critique or further contextualize a published work or body of work dealing with film technology from a range of critical perspectives. Works reviewed should be published no earlier than 2015 (though 2014 is acceptable for works still primarily sold in hardcover). Reviews should aim to be dynamic and intelligent in their analysis of a given work.
Possible topics may include, but are not limited to:
The role of technology in transmedia storytelling: how have the ways in which filmmakers construct stories transformed through new technological platforms and their integration? How have studios adapted to these developments?
Distribution: how has technology impacted the ways studios and independent filmmakers alike deliver content to audiences? How have audiences embraced or rejected these new channels?
Preservation of film and digital media: as celluloid has become a more rarefied mode of both exhibition and filming, how do new technologies inform or enable the preservation of film as both archive and cinematographic possibility?
Special effects: has CGI become integral to any idea of cinematic spectacle? Has CGI become mere ‘fact’, indistinguishable from reality? What performative possibilities have arisen through motion-capture and other CG technologies, for instance the ‘resurrection’ of deceased performers in the recent Rogue One: A Star Wars Story?
Film technologies in non-Western markets: how have industries, viewing practices and film texts been influenced, enabled or transformed outside the West?
Subaltern voices: what new perspectives (economic, social, gendered, etc.) have been enabled by changes in both production and distribution technologies?
Technological histories: is there a comparison to be made between viewing practices today and technological shifts like the introduction of sound, color, widescreen, technicolor, etc?
Interested participants are invited to submit papers of between 750-2000 words (approximately 1-3 pages) in length along with a CV and bio to firstname.lastname@example.org by July 15, 2017.
If you have any questions, please contact email@example.com.