Call for Papers
Spectator 40.1 (Spring 2020)
Emergency and Emergence
The editors of Spectator convene a special issue which speaks to and builds from some of the questions raised by the First Forum 2018 graduate student conference on the theme of Emergency and Emergence.
This year’s conference explored the many meanings and implications of the concept of emergency in relation to cinema and media scholars and practitioners. Through a variety of approaches to theory and practice, participants examined the concept of exception, anomaly, and crisis as they pervade both contemporary aesthetics and academic discourse. Panels discussed emergent technology, forms of activism, imagined and physical geographies, and a range of contexts in which these terms circulate and reverberate. The conference provided a rich three days’ discussion of the cross-disciplinary potential of this concept and its contexts.
The conference also considered how emergency not only can be theorized, but also practiced. What does media produced under states of emergency look and sound like? What is the role of the artist in moments of crisis? We sought to complicate the term’s usual negative framework by bringing emergency into conversation with the connected term emergence. We ultimately discussed how emergency and emergence can be considered catalytic concepts, cultivating moments of potential and fostering new forms of organization to respond to an emergency’s urgent call.
This issue of Spectator invites papers which interrogate the potential of the theory and practice of emergency and emergence, as ways of thinking about social, political, technological, and aesthetic transformations that occur during times of uncertainty. This year we will be publishing a SCALAR version of the journal as well as a print version and also welcome video and media-rich essay as well as other experimental forms for inclusion online. Written manuscripts should be 3,500 to 4,500 words in length, including endnotes, adhering to Chicago Manual of Style. Films should not exceed 15 minutes in length.
- Extended deadline for submission: March 15, 2019 by 11:59 PM PST.
- Spectator is a biannual journal.
- Book reviews should be 1,000 to 1,500 words in length. Below you will find a few of our suggestions, but we welcome insightful and critical book reviews on any relevant and recently published academic texts:
- Bodies of Information: Intersectional Feminism and the Digital Humanities (2018, Elizabeth Losh and Jacqueline Wernimont, Editors, University of Minnesota Press)
- A Capsule Aesthetic: Feminist Materialisms in New Media Art (2018, Kate Mondloch, University of Minnesota Press)
- Han, Byung-Chul. The Expulsion of the Other: Society, Perception and Communication Today, Polity Press, 2018. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/socal/detail.action?docID=5216626.
- Misinformation and Mass Audiences (2018, Brian G. Southwell et al, University of Texas Press)
- The Technical Delusion: Electronics, Power, Insanity (2019, Jeffrey Sconce, Duke University Press)
All manuscripts should be sent in electronic format to firstname.lastname@example.org in .doc/.docx or other word compatible formats.
Manuscript submissions should adhere to the following format:
a) Cover page with the following information: name of author; institution affiliation; title of article; preferred e-mail address; postal address, and phone number.
b) Chicago Manual of Style format with endnotes, sans bibliography (see style guide attached)
c) 3,500 to 4,500 words, including endnotes.
d) Omit author and personal identifying information. (Editors will also ensure that this information is not available to Peer Reviewers).
Articles submitted to Spectator should not be in contract or under consideration with other journals. All questions and correspondence should be directed to Michael Anthony Turcios, Szilvia Ruszev and Allison Ross via e-mail at email@example.com
Michael Anthony Turcios, Szilvia Ruszev and Allison Ross
Marsha Kinder, PhD
William Whittington, PhD
Editorial Board (TBD)
Spectator Style Sheet
To accelerate the process of editing and preparing manuscripts for publication, please follow these guidelines closely. This style sheet is not yet exhaustive and remains a work in progress. It is merely a list of some of the more important guidelines authors should follow in preparing manuscripts for review and publication. Please consult the Chicago Manual of Style (CMS) when in doubt, or contact your editor with any questions.
All texts should be double-spaced. For texts submitted for initial peer review, the
author’s name should only appear on the separate title page (this does not apply to finalized
manuscripts). Page numbers should be in the upper right corner of each page. Use only single
spaces between sentences and following all punctuation (including periods and colons) [see CMS 2.12, 6.13]. Do not leave any spaces between em-dashes and text [formatted—conventionally—as such] [see CMS 6.87-96]. Please use serial commas (Oxford
commas) before conjunctions in lists [cats, dogs, birds, and lizards], unless the last set is a pair
[Levinas, Derrida, and Deleuze and Guattari] [see CMA 6.19-6.24]. In final manuscripts, authors
should use underlined text to designate words that should be italicized (titles of works, foreign language words, etc.), and use em-dashes [—] rather than two hyphens [--] unless for portmanteaus or proper nouns.
Possessives: The general rule is to add an apostrophe and an s [‘s] for singular nouns, and an
apostrophe for plural nouns. When indicating a property of a text in the possessive, the ‘s should not be italicized or underlined: “Kiss Me Deadly’s paranoid structure” [see CMS 7.17-30].
Ellipses: please use rigorous method, distinguishing between 3-dot and 4-dot ellipses. The
general rules: 3-dots for omissions within sentences and sentences that trail off mid-thought, and 4-dots to indicate one of more sentences have been omitted. Typographically, 3-dot ellipses have a space between words and each period [like . . . this] or for sentences that trail off [like this . . . ] and 4-dot ellipses that cut mid-sentence and omit subsequent sentence(s) have a space between words and each period [in this fashion . . . . With the next sentence just a space away] where 4-dot ellipses wherein the first dot functions as the period of the end of a sentence do not use a space between the last word, first period [the ending is more tidy. . . . ] [see CMS 11.51-64].
Quotation Marks: Use double quotation marks [“like this”] for off-setting words and for
quotations from other texts. Single quotation marks [‘inverted commas’] for quotations within
quotations. Punctuation, with the exception of colons, semi-colons, and question marks that are
not part of the quoted material, should be placed inside the quotation marks [“like this,” or
“this.”] [see CMS 11.33-50].
Block Quotations: For quotations of more than 100 words (four lines) block quotations are
preferable. Quotation marks are not needed with block quotations. The left-justification of a
block quotation should be indented 0.5” and a line break should precede and follow all block
quotations [see CMS 11.11-32].
All citations should be formatted as endnotes. Please include all the appropriate citation information in the end notes (we do not use bibliographies) [see CMS 11.72-93, 16.19-
65, 17]. Authors making numerous citations to a single text may place the first citation in an end
note with the designation “(subsequent references cited parenthetically),” and embed additional
citations directly within their texts in the parenthetical format as follows: (Derrida 1994, 24) [see
CMS 16.107-120]. Please obey the distinctions outlined between book citations, periodical and
journal citations, etc. outlined in chapter 17 of the CMS. Brief note commentary such as “my
translation,” “emphasis mine,” etc., should be placed in parentheses: Germaine Dulac, “Films
Visuel et Anti-Visuel” in Écrits sur le Cinéma (1919-1937), ed. Prosper Hillairet (Paris: Paris
Experimental, 1994), 121 (my translation) or George Méliès, “Cinematographic Views,” trans.
Stuart Liebman, October, vol. 29 (Summer 1989): 23, 26 (my emphasis).
Examples of Note citations for:
Single Authored Books:
Lewis Carroll [Charles L. Dodgson], Curiosa Mathematica, 3rd ed. (London: MacMillan, 1890).
Note: Pseudonyms can be given in brackets if of interest to readers. With famous and commonly known pseudonyms, such as Lewis Carroll, it is not necessary to include the
Maurice Blanchot, Friendship, trans. Elizabeth Rottenberg (Stanford: University of Stanford
Press, 1997), 137 (originally published 1971).
Chapter in an Edited Anthology:
André Bazin, “Science Film: Accidental Beauty” in Science is Fiction: The Films of Jean
Painlevé, ed. Andy Masaki Bellows and Marina McDougall with Brigitte Berg, trans. Jeanine
Herman (Cambridge, MA: MIT Press; San Francisco: Brico Press, 2000), 144-147.
Note: This book was published simultaneously by two presses.
Fatimah Tobing Rony, “The Photogenic Cannot Be Tamed: Margaret Mead and Gregory
Bateson’s Trance and Dance in Bali,” Discourse 28.1 (Winter 2006): 5-27.
Laurent Mannoni, “Progressive Slides Towards Pleasure: Remarks on the Chronophotographic
Oeuvre of Marey and Demenÿ” 1895 no. 18 (Summer 1995): 11-52.
Note: Use a colon (instead of a comma) before page numbers for journals.
All illustrations and figures should be sequentially numbered, and captioned in the
text. They should be marked in the texts as “call outs” [Insert Figure X about here]. Separate
electronic copies of all illustrations must be provided at a scan resolution of 300 dpi and ideally
no less than 4.5” wide in either TIFF or EPS format (hi-res JPEGS are also acceptable). Files
should be named “Fig. 1,” “Fig. 2,” etc. Authors are responsible for securing permission for the reproduction of all illustrations. Please contact your editors with any questions.
If you are working in Photoshop and are converting files, here are the preferred TIFF options:
Image Compression: none
Pixel Order: Interweaved
Byte Order: Macintosh
Save Image Pyramid: not checked