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Film Studies: Spring 2011, Issue 5 - February 28, 2011 Due Date
full name / name of organization:
Pennsylvania Literary Journal (Anaphora Literary Press)
This winter break I (English Instructor at the Edinboro University of Pennsylvania) have found myself watching Buffy, Stargate, as well as new film releases like Splice, Resident Evil, and Shrek through Netscape. It is frequently difficult for me to find a film on Netscape that I haven’t seen before and they have most of them. My independent Pennsylvania Literary Journal, http://sites.google.com/site/pennsylvaniajournal, just finished an issue titled British Literature, for which we also included one general essay called, “Chronicle of a Movie Extra: When Background Becomes Foreground,” by Dr. Douglas King, who teaches film studies and literature at Gannon University in my neighboring Erie, PA, about the recent boom in film-production in the Pittsburgh area. It was both entertaining and educational to read about the reality of starting in film-making as a college professor. As I watch recent films and read film criticism, I keep returning to the question if there is such a large gap between some of the best novels like A Tale of Two Cities and a series like Buffy. Why is the first a classic and the latter a “mindless” form of entertainment, according to some critics? There are those who strongly disagree with this view. For example, on Buffy alone, McFarland has published numerous books, including: The Truth of Buffy, Buffy Goes Dark, and The Changing Vampire of Film and Television: A Critical Study of the Growth of a Genre. A few obvious differences between Dickens and Buffy come to mind. Dickens worked by himself (with a tiny bit of help from his editor) to create vividly original and rebellious lengthy novels; the other was made by a group of hundreds of people (producers, directors, writers, actors). Who is it that we should be praising as the classical author or creator of a work like Buffy when the makeup, dialogue linguistics and location scenery are elements that are the strongest elements in Dickens and most other “great” writers? I have also read dozens of books about script writing and film production. I own: The Screenwriter’s Bible, Hollywood Creative and Representatives Directories. As I set out to present and chair sessions at the Modern Languages Association Convention in Los Angeles this January 2011, I am hungry to read non-fiction and critical essays by both film-makers and academics on film studies (theory, production, technique, writing, criticism, etc). Book and film reviews are also welcome. We work with a dozen publishers, listed on our website, who send free books to academic reviewers. But, if you happened to have seen a recent film or series that you enjoyed PLJ’s Spring 2011 issue is a great place to publish reviews of these. Our essays typically range between 1,200 and 8,000 words. Email a Microsoft Word document to firstname.lastname@example.org, to the Editor-in-Chief/ Director of Anaphora Literary Press, Anna Faktorovich (me). If you are not sure what to send, email a query. Humor and misadventures are warmly invited for this one. Submissions are due on February 28, 2011, but slightly delayed works will probably be considered.