Moving Image Review and Art Journal is currently accepting contributions for inclusion in Issue 13.2 (launching December 2024). 

The Editorial team is interested in receiving scholarly articles (5000–8000 words) and opinion pieces, feature articles and interviews (3000–4000 words) from art historians and critics, film and media scholars, curators and, not least, practitioners.

To be considered for inclusion, completed scholarly articles and proposals for opinion pieces, feature articles and interviews should be submitted by September 1st 2024. Please send all articles and proposals by e-mail in DOC or RTF format to the editorial assistants:

The editors seek pieces that offer theories of the present moment in the field of artist’s moving image but also writings that propose historical re-readings. 

We welcome articles 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.

All articles submitted should be original work and must not be under consideration by other publications.

We welcome work that intersects with other academic disciplines and artistic practices. We encourage writing that is lucid without compromising intellectual rigour.

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.
Referencing should be in Harvard style and all text should adhere to the Intellect Style Guide.
The following guidance is by no means comprehensive and must be read in conjunction with the Intellect Style Guide.