IAFOR Journal of Media, Communication and Film
Editor: Dr James Rowlins
The IAFOR Journal of Media, Communication and Film is an editorially independent and internationally reviewed interdisciplinary journal associated with MediAsia: the Asian Conference on Media and Mass Communication, and FilmAsia: the Asian Conference on Film and Documentary. For more information about the associated conferences, please click on the links at the bottom of the page.
A small number of papers from the associated IAFOR conference proceedings are selected by the journal editor(s) for reworking and revising subject to normal processes of review. It is expected that between 5 and 10 percent of papers included in any given conference proceedings will be developed for inclusion in the associated conference journal. The editor may also commission pieces or accept articles from the open call, all of which must be subject to the same processes of peer review.
The IAFOR Journal of Media, Communication & Film Volume 1 - Issue 1
Publication: August 2013
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The IAFOR Journal of Media, Communication and Film seeks scholarship exploring the relationship between society, film and media – including new and digital media. The Journal’s focus is on Asia and Asian cultures’ interaction and interrelation with the wider world. While some Journal issues will privilege scholarship particular to specific countries, cultures, ethnicities or demographics, other editions will be organized according to themes designated by the editors and will not necessarily relate to any particular national situation. The Journal will endeavour, in particular, to give a voice to scholars considering hitherto unexamined aspects of contemporary media and visual culture, with the aim of providing new perspectives and keeping abreast of the socio-political changes taking place on the world’s fastest-developing continent.
The articles published in this Journal will primarily be concerned with practice; that is to say, with tangible problems – of a social, societal, political, gender, religious or ethical order – and the ways in which they are represented and problematized in film and media. It goes without saying, of course, that any exploration of society through the lens of media and film raises a number of theoretical questions. Invoking Aristotle’s claim that a speaking being is also a political being, Jacques Rancière has defined politics as that which “revolves around what is seen and what can be said about it, around who has the ability to see and talent to speak, around the properties of spaces and the possibilities of time.” By this measure, all forms of representation that entail the art of seeing, saying and showing are, at some level, political. Through their interpretative analyses of media, contributors will thus be engaging in a discourse, either directly or indirectly, on politics’ complex relationship with aesthetics.
For more information on the journal and to submit an article, please write to: firstname.lastname@example.org
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James Rowlins, Singapore University of Technology and Design, Singapore
George Radics, National University of Singapore, Singapore
Anna Krivoruchko, University of Southern California, USA
Lucille Toth Colombie, University of Southern California/EHESS, USA
Jecheol Park, National University of Singapore, Singapore
Murat Akser, Kadir Has University, Turkey
Mustafa Kamal Anuar, Universiti Sains Malaysia, Malaysia
H. Esra Arcan, Instanbul University, Turkey
Vicki Callahan, USC School of Cinematic Arts, USA
Yann Descamps, Université Paris XII, France
Eftihia Mihelakis, University of Montreal, Canada
Linda Mokdad, University of Iowa, USA
Panivong Norindr, USC Dornsife School of Letters, Arts and Sciences, USA
Dahlia Petrus, University of Michigan, USA
Nilanjan Raghunath, SUTD, Singapore
Olivier Roland, University of Southern California, USA
Ayako Saito, Meijigakuin University, Japan
Kevin Smets, University of Antwerp, Belgium
Chuan Yean Soon, Universiti Sains Malaysia, Malaysia
About the Editor: James Rowlins left his native England for Paris, France, where he studied for a BA (Hons) and MA specializing in French cinema. His passion for visual culture subsequently took him to Los Angeles, where he earned a doctorate at the University of Southern California, USA. In addition to exploring literature and film through a theoretical lens, as well as dabbling in filmmaking, his dissertation focussed on the crossover between post-war American film noir and the French New Wave, arguing that the subversive manipulation of the Hollywood genre formula by the auteurs constitutes a political aesthetic. He has published articles on contemporary French fiction, film and existentialism, cinematic phenomenology and new perspectives on the New Wave. He has held teaching positions in Europe, America and Japan, and is currently a Lecturer in the Humanities and the Arts Department at the Singapore University of Technology and Design, Singapore established in collaboration with the Massachusetts Institute of Technology, USA.
About the Associate Editor: George Radics is originally from Los Angeles, California and received his BA, summa cum laude, in Sociology and Asian American Studies from the University of California, Los Angeles, USA. He subsequently earned his PhD from the Department of Sociology at the National University of Singapore, Singapore. George also has a law degree, with a concentration in Asian law, from University of Washington, USA. George subsequently served as a Research Attorney for the Supreme Court of Guam, where he participated in the first ever Guam International Film Festival. His interests are law and development, media policy, sociology of emotions, postcolonial studies and Southeast Asia. His work engages a wide range of media related issues, including militarisation, corruption, law reform, privacy rights, and the depiction of minorities.
About the Assistant Editor: Anna Krivoruchko received her BA in Russian specializing in literature and MA in art history in Russia. Her keen interest in both literature and visual culture naturally resulted in a “Kandidat” dissertation on ekphrasis defended in 2009 at Tver’ State University, Russia, as well as in a number of articles. Later she immersed herself in law and literature studies and is currently finishing a doctoral dissertation in the Slavic Department at the University of Southern California, USA. Once again, her research appears interdisciplinary and cross-cultural as it brings together Russian and Anglophone literature and film.
About the Assistant Editor: Lucille Toth Colombié earned a degree in contemporary dance from the Anne-Marie Poras School of Dance in Montpellier, France in 2003. After a BA in Performance Studies, she studied for a MA in the French Studies department at the University of Montreal in Canada, specializing in French cinema and French-Canadian drama and literature. Now a PhD candidate at the University of Southern California, USA, she focuses on the ways in which modern medicine influenced 21st century notions of beauty, disgust and sickness, in particular through the figure of the dancer both in literature and dance performances. She has published several articles on this subject and is currently co-writing a book on literature and contemporary dance.
About the Advisory Editor: Jecheol Park is Assistant Professor of Film Studies in the Department of English Language and Literature in the National University of Singapore, Singapore. His research and teaching interests include East Asian cinema, postcolonial and Third World cinema, aesthetics and politics in film and media, psychoanalysis and poststructuralist thoughts, and contemporary Korean visual culture. His essays have appeared in the journal Film Criticism and the collection World Cinema and the Visual Arts. He is currently working on a manuscript on the aesthetics and politics of affects in contemporary East Asian films entitled The Vicissitudes of Postnational Affects: Visuality, Temporality, and Corporeality in Global East Asian Films.
IAFOR Commitment: IAFOR publications are freely accessible online, as part of the commitment to constituting a research archive open to all, regardless of institutional and professional status, or background. Please remember to cite the source. Contributors are advised to cede copyright to the IAFOR Journal of Media, Communication and Film.
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