CALL FOR PAPERS: The Moving Image Review & Art Journal (MIRAJ)


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 Intellect Books in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ 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 but also 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, feature articles and interviews (3000 words); review essays of books, individual works, exhibitions and events (2000–3500 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.

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.

Issue 3.2, Scholarly Articles and Review Essays are unthemed and open to any submissions within the aims and scopes of MIRAJ. The Features section will include themed articles on 'Institutions' and welcomes submissions that address the broad resonances of this theme in artists' moving image, including but not limited to: the role of art schools and other educational establishments in the production, distribution, and exhibition of artists' moving image; case studies of particular institutions; the challenges film labs and co-operatives face in a digital era; the role of the academy; informal institutions; first-hand reflections on working in a particular institutional context; the relationship between experimental film and moving image practices in the gallery as modes of production.

Deadline for Issue 3.2: 18 April 2014

Issue 4:1 ‘Feminisms’. The current resurgence of feminist debate in western cultures has produced a spate of retrospectives charting the rise of feminist art by women in Europe and North America in the 1960s and ‘70s. While debates now incorporate multiple and global feminisms, the use of the moving image, as a mode of documentation, advocacy and activism, as well as an art form, remains central to women’s struggles to overcome the inequalities that the so-called post-feminist 1990s so successfully masked. We invite articles, feature articles or review articles on all aspects of women’s moving image theory and practice, both historical and contemporary, arising from the experiences of women across the globe.

Deadline for Issue 4.1: 17 October 2014

All submissions should be in English and adhere to the Intellect Style Guide (,name=journalstyleguide/)

Please submit completed manuscripts only. Send all contributions and proposals by e-mail in DOC or RTF format to the Editorial Assistant:


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: Colin Perry, CSM, University of the Arts London.

Features Editors: Erika Balsom, King’s College, London
Editorial Board: Rachel O. Moore, Goldsmiths, University of London
The International Advisory Board includes:
Mark Bartlett; Pryle Behrman; Suzanne Buchan; Ian Christie; Stuart Comer; Maeve Connolly; David Curtis; T.J. Demos; Thomas Elsaesser; Catherine Fowler; Stan Frankland; Amrit Gangar; David E. James; Laura Mulvey; Mark Nash; Michele Pierson; Lucy Reynolds; Pratap Rughani; Catherine Russell; Tom Sherman; Lisa Steele.

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