The Moving Image Review and Art Journal (MIRAJ) is the only peer reviewed academic journal devoted to the study of the moving image as a cultural form. MIRAJ offers a widely distributed international forum for debates surrounding all aspects of artists’ moving image and media artworks.
Part of the publisher Intellect’s stable of art and design journals it was founded by Professor Catherine Elwes in 2011, who remained its editor in chief until 2017. Under her editorship, the journal has grown to be one of the most respected academic sources for writing in the field, encompassing the scholarship of the eminent and established alongside fresh insights by emerging scholars. The journal has now continues at CREAM under the co-editorship of Michael Mazière and Lucy Reynolds, with Maria Walsh, of the CCW Graduate School, University of the Arts London, as Reviews Editor.
MIRAJ is published twice a year in print and as an e-journal. Contributions to the journal are encouraged by open submission and a call for papers, in response to a theme or reflecting the writer’s particular area of study. MIRAJ publishes the following types of writing: scholarly articles (5000–8000 words); opinion pieces, feature articles and interviews (3000-4000 words); review essays of books, individual works, exhibitions and events (3000-4000 words). Scholarly articles will be blind peer-reviewed and feature articles and review essays can be peer-reviewed on request. All writings should propose a central idea or thesis argued through a discussion of the work under review.
MIRAJ back issues are available at https://www.intellectbooks.co.uk/journals/view-Journal,id=207/view,page=4/
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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 but also writings that propose historical re-readings. We welcome work that intersects with other academic disciplines and artistic practices. We encourage writing that is lucid without compromising intellectual rigour.
We welcome essays that:
Suggest new methods of theorizing and writing the moving image, re-view canonical works and texts, or identify ruptures in the standard histories of artists’ moving image;
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;
interrogate the matters at stake in contemporary and historic practices of the moving image: from political and ecological urgencies to social conditions;
explore issues of subjectivity and spectatorship;
address issues of the ontology and medium-specificity of film, video and new media arts and imaging technologies;
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;
Articles submitted to MIRAJ should be original and not under consideration by any other publication, including online publications. We do not publish articles by artists about their own work, nor reviews by curators or venues about their own exhibitions.
All submissions should be in English and adhere to the Intellect Style Guide
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