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Unsolicited Submissions
Offscreen welcomes unsolicited original (i.e. not published elsewhere) submissions, but strongly recommends all interested parties read the description of the journal (About Offscreen) and take some time to peruse the site to get a sense of the journal’s interests. Submissions should be emailed to the editor Donato Totaro following the format guidelines below. It is advisable that you contact the editor with your proposal prior to submission. Offscreen frequently produces special thematic issues (see past issues for examples). If interested you may query the editor for information on upcoming special issues.Format Guidelines
Your text should be formatted in either rich text format or in MSWord format. All film titles should be in italics and followed by the director and date: Nosferatu (F.W. Murnau, 1922). For citing your bibliographic references please use the parenthetical author system with conventional brackets, ex. “In deference to the time I invested, I’m including, at the end of this essay, a list of films I’d planned to include in the film canon” (Schrader 35). And then include a bibliography at the end citing full bibliographic information.Bibliography
Paul Schrader. "Canon Fodder." Film Comment. September/October 2006, 33-49.
Use endnotes only for parenthetical comments. Endnotes must be inputted manually in the body of the text with square brackets, ex. "One can not accuse Schrader of being unduly biased to American cinema, since over half (31 of 60) of the films are non-American. [1] And then numbered consecutively at the end of the text in the following manner:
Endnotes
fn1. Although from a wholly international/global perspective, one can argue that 29 out of 60 films is still too much.
Any accompanying photos should be included separately, in jpg format and no larger (roughly) than 300 X 200 pixel size, 72 dpi resolution. It is the author’s responsibility to procure rights for any photographs submitted. Minimum length requirements are as follows: 1000 words for book/film/dvd reviews and festival reports, 2000 words for articles/essays.
Offscreen Contributors
Aden Evens Alain Dubeau Alessandra M. Pires Alice Black Andre Caron Andre Habib Andrea Huck Anna Romatowska Barry Spinello Becky Korman Ben Dooley Benjamin Paquette Benjamin Wright Betty Kaklamanidou Bran Stakhage Brett Kashmere Catherine Benoit Charles Leary Charles Stankievech Christina Stojanova Christopher Bourne Claudia Gorbman Claudy op den Kemp Colin Burnett Cynthia Wu Daniel Garrett Daniel Lynds Daniel Stefik Dave Douglas David Church David Durnell David George Menard David Neo Edwin Mak Elaine Lennon Elie Castiel Elizabeth Weis Felix Rebolledo Fred Collopy Frederick Pelletier Fuad Alnirabie George Lellis Gilda Boffa Guan-Soon Khoo Hans-Bernhard Moeller Heather Macdougall Henry M. Taylor Hwanhee Lee Irini Stamatopoulos Isabelle Morissette James MacDowell James Rose Jamie Gaetz Jason Lindop Jason Mark Scott Jenna Bond Jim Batcho John Fucile Jonathan Sterne Joshua Murphy Kerstin Vogel Khatereh Khodaei Krystle Doromal Leah A. Cheyne Leah Hendriks Linda J. Merelle Lindsey Rock Lise Millay Stevens Louis Goyette Mélanie Morrissette Marie-Eve Fortin Mark Carpenter Mark Kerins Mark Penny Martin F. Norden Martin Shingler Mi-jeong Lee Michael Betancourt Michael Crochetière Michael Vesia Mike Archibald Mike Rollo Mitchell Akiyama N. Buket Cengiz Najmeh Khalili Mahani Nicolas Renaud Patrick Ellis Paul Corupe Paul W. Salmon Peter Harcourt Peter Rist Peter Wilshire Philip Gillett Pierre Pageau Pierre-Alexandre Despatis Prakash Younger Randall Barnes Randolph Jordan Randy Thom Richard Wallace Rick Trembles Robert Carl Craig Robert Robertson Roberto Aita Roberto Curti Roberto Donati Rodney Perkins Ryan Diduck Ryan Spence Sandor Lau Sandra Gallant Sarah Rooney Sean Lindsay Shahin Parhami Simon Galiero Simon Laperrière Stacey Abbott Stefan Gullatz Stefan Jovanovic Steffen Hantke Stephane Grasso Stephen R. Bissette Thomas Philips Tim Newman Valery Stepanov Vincent Bouchard Vito Adriaensens Will Wright Willian Whittington Zoë Constantinides Zoya Honarmand and Donato Totaro (ed.).
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