Journal of African Cinemas (Journal)

ISSN 17549221 , ONLINE ISSN 1754923X

The Journal of African Cinemas is a double-blind peer-reviewed journal that explores the interactions of visual and verbal narratives in African film. It recognizes the shifting paradigms that have defined and continue to define African cinemas. Identity and perception are interrogated in relation to their positions within diverse African film languages.

Category: Film Studies


Editorial Board

Keyan G. Tomaselli
University of Johannesburg, South Africa
keyant@uj.ac.za

Martin Mhando
Murdoch University
M.Mhando@murdoch.edu.au

Editorial Coordinator

David Nothling
University of Kwa-Zulu Natal.
jac@uj.ac.za

Book and Film Reviews Editor

Pier Paolo Frassinelli
University of Johannesburg
pierpaolof@uj.ac.za

The Journal of African Cinemas will explore the interactions of visual and verbal narratives in African film. It recognizes the shifting paradigms that have defined and continue to define African cinemas. Identity and perception are interrogated in relation to their positions within diverse African film languages. The editors are seeking papers that expound on the identity or identities of Africa and its peoples represented in film. The aim is to create a forum for debate that will promote inter-disciplinarity between cinema and other visual and rhetorical forms of representation.


Editorial Board

Keyan G. Tomaselli
University of Johannesburg, South Africa
keyant@uj.ac.za

Martin Mhando
Murdoch University
M.Mhando@murdoch.edu.au

Editorial Coordinator

David Nothling
University of Kwa-Zulu Natal.
jac@uj.ac.za

Book and Film Reviews Editor

Pier Paolo Frassinelli
University of Johannesburg
pierpaolof@uj.ac.za

Editorial Board

Keyan G. Tomaselli
University of Johannesburg, South Africa
keyant@uj.ac.za

Martin Mhando
Murdoch University
M.Mhando@murdoch.edu.au

Editorial Coordinator

David Nothling
University of Kwa-Zulu Natal.
jac@uj.ac.za

Book and Film Reviews Editor

Pier Paolo Frassinelli
University of Johannesburg
pierpaolof@uj.ac.za

Notes for Contributors

 

Research articles

Research articles will be evaluated by double-blind peer review.

Research articles should:

  • Contain original research or scholarship
  • Not be under consideration by any other publication
  • Not normally exceed 8000 words
  • Conform to the instructions outlined below

JAC would like to remind potential authors to familiarise themselves with the submission criteria before sending their papers. Indeed the double blind scrutiny is applied rigorously by the editors and while not discouraging potential writers we hasten to add that JAC publishes only the highest calibre of research papers and may return papers unread if deemed of a low publication value

Format of submitted articles

    • Submissions to the Journal of African Cinemas should be made online via the JAC webpage.
    • Electronic copies should be submitted by Word format. 
    • Data required before publication of any article: Articles accepted for publication cannot be sent to the publishers until they contain:
      • Correct Harvard-style references (see below for details)
      • Title, name of author, author institutional affiliation, author biography, street and email addresses and acknowledgements
      • Abstract (max. 150 words)
      • Keywords (6–8), in lower case
      • A list of ‘References’ containing only works cited in the article
      • 1.5 spacing

 General Requirements

  • Article titles and sub-headings within articles should be in bold and capitalized according to grammar
  • Use British English, with –ize endings
  • Give full names/titles for first mention of people/organizations in the text, then surnames/acronyms afterwards

 

  • Quotations should be used sparingly and be identified by “double” quotation marks if they are embedded in the text. Longer quotations (i.e. longer than 45 words) should be indented on both sides, without quotes and the reference should follow the punctuation. Both should be referenced using the Harvard system. The page number(s) must be included.
  • Non-English words and phrases inserted in the text should be in italics.
  • Images need to be submitted separately from the article, i.e. not embedded in the paper. The images must be production-ready high-resolution images in JPEG, TIFF or PDF. The minimum resolution is 300 dots per inch (dpi). Captions are advisable with all images. In addition, please number all images, so as to include the sequential number and title.
  • Photocopies are not advisable, only for rare documents.
  • Diagrams and sketches can be supplied in one of the following formats: JPEG, TIFF or PDF. The minimum resolution is 300 dpi.
  • Art reproductions should include title, medium, size, year and copyright details.
  • The responsibility of obtaining copyright regarding reproduction of images lies with the contributor.
  • A list needs to accompany the images stating the order in order they should appear.
  • It is best to supply tables in both Word and PDF documents. The table can be included in the text or supplied separately.

 

Notes

  • ‘Explanatory notes’ should be kept to a minimum.
  • The notes will appear at the side of appropriate pages, but the numerical sequence runs throughout the article.
  • Please use the Word (or equivalent) ‘Footnote’ facility and ensure that they are submitted as endnotes, not footnotes.
  • Place endnote marks outside the punctuation (after the comma or full stop). The note mark must be in superscripted Arabic (1, 2, 3), not Roman (i, ii, iii).
  • The endnotes should be placed after the references.

 

 Cited films

  • References embedded in the text, on the first occurrence, give the Title (Surname of director, year of the film’s release). For a foreign film, Original Title/English Translation appears in italics, if a distributor is known. Alternatively, a literal English translation is given in brackets, in Roman script.
  • A list of Cited films precedes the Reference list. Enter Surname, first name, (year of release), Title (min.), Name(s) of Producer(s), (Country/Countries of production), dist. (Name) if distributor is known. For a foreign film, enter Original title(s)/Translation, otherwise give the English translation in brackets. Examples:

Roodt, Darrell James (1992), Sarafina (117 min.), Buena Vista/BBC/MPAA, South Africa/UK/USA.

Sissako, Abderrahmane (2002), Heremakono/En attendant le bonheur/Waiting for Happiness (95 min.), Duo Films/Arte, France, dist. New Yorker Films. 

Idrissa Ouedraogo (1994), Le cri du cœur (Cry of the Heart) (85 min.), Les Films de la plaine/Les films de l’avenir/Le Centre Européen Cinématographique Rhône/Alpes, Burkina Faso/France, dist. Médiathèque des Trois Mondes.

 

Film/Book reviews

Reviews should be no longer than 2000 words.

Please ensure that the title of the book and other media reviews are stated in the following order:

 Title of film, Fist name and last name of director, (date of release), length, distributed by.

 Title of publication, First name and last name of author, (Date of publication), Edition number

Place of publication, name of publisher, number of pages (nnn pp.), First ISBN, Hardback/Paperback, price, Second ISBN, Hardback/Paperback, price.

 

Interviews

Interviews should be no longer than 2000 words. 

Interviews should not simply be a straightforward transcript of questions and answers, or superficial puff pieces. Rather the interviewer must interrogate the philosophical, theoretical, or practical problems or conceptual concerns in the study of African cinemas in relation to the discussion with the interviewee/the film under study, or the broader canon of the practitioner. Such an interaction will be intensive, involving a number of drafts between the interviewer and interviewee, with the final submitted version being approved by the interviewee. Our rationale is that interviewers, industry creatives, actually perform theory in practice, but that they are not involved in academic writing. It is the interviewer therefore who bridges between theory and practice, and makes professional experience theoretically relevant.

 

References

  • Harvard references embedded in the main text should use the following format (Armes 2006: 110). This format also applies to an author published in an edited book; do not give the editor’s name in the embedded reference, for example, (Gabriel 1989: 60). Likewise, quotations from websites should be identified with the author’s name and date of the website if available and/or mention of the year accessed (Mhando 2002: accessed 2008). (If no author is available, quote (Anon.) followed by the first words of the title: accessed year)
  • Publications not mentioned in the text should not be included in this list, although they may be included under a separate ‘Further reading’ list.

 

Reference list:

A single list of references should be included at the end of the article. Websites addresses are listed in the same way as any other publications and not in the endnotes. State the author’s first name if available. For multi-authored books, initials might be preferred.

  • Use ‘Anon.’ for items for which you do not have an author.
  • (ed.) and (eds) must be used.
  • Commas, not full stops, must be used between parts of item.
  • Place the name of the translator of a book within brackets after the title: (trans. Frances Bennett).
  • Do not add in ‘no.’ for the journal number.
  • Insert a colon between the journal volume and number.
  • Use p. or pp. before page extents.
  • Insert page references for the whole article or chapter.
  • Place a full stop at the end of all references in the list.
  • Always indicate whether emphasis within a quotation is original or added.

 

Books

(Capitals are expected in English but not in French titles except for proper nouns.)

 Givanni, June (2000), Symbolic Narratives/African Cinema: Audiences, Theory and the Moving Image, London: BFI.

Niang, Sada (ed.) (1996), Littérature et cinéma en Afrique francophone : Ousmane Sembène et Assia Djebar, Paris : L’Harmattan.

 

Chapter or article in an edited book

Gabriel, Teshome H. (1989), ‘Third Cinema as Guardian of Popular Memory: Towards a Third Aesthetics’, in Jim Pines and Paul Willemen (eds), Questions of Third Cinema, pp. 53─64.

Tomaselli, Keyan G., Shepperson, Arnold and Eke, Maureen (1999), ‘Towards a Theory of Orality in African Cinema’, in Kenneth W. Harrow (ed.), African Cinema: Postcolonial and Feminist Readings, Trenton, NJ/ Asmara, Eritrea: Africa World Press, pp. 45─71.

 

Journal articles

Beittel, Mark (1990), ‘Mapantsula: Cinema, Crime and Politics on the Witwatersrand’, Journal of Southern African Studies, 16: 4, pp. 751─760.

 

Internet sources

Please state when the site was accessed.

Mhando, Martin (2002), ‘Approaches to African cinema study’, http://www.sensesofcinema.com/contents/00/8/african.html. Accessed 7 January 2008.

 

Newspaper articles

Richie, Peter (2007), ‘Bunnychow a Taste of South Africa’, Sunday Times, 28 September, p. 15.

  

Thesis

Oosthuysen, Chantel (1997), Intertextuality in the Soap Opera Egoli: Culture and Consumption, Masters thesis: University of KwaZulu-Natal at Durban.

 

Interviews

When the informant says something directly to the author, state in brackets (personal communication).

A more formal interview would be cited, in the text, as (Robinson 21 December 2007 interview).

In the References: Robinson, G. (2007). Interview with author, 21 December: Durban.

 

 

Editorial Board

Keyan G. Tomaselli
University of Johannesburg, South Africa
keyant@uj.ac.za

Martin Mhando
Murdoch University
M.Mhando@murdoch.edu.au

Editorial Coordinator

David Nothling
University of Kwa-Zulu Natal.
jac@uj.ac.za

Book and Film Reviews Editor

Pier Paolo Frassinelli
University of Johannesburg
pierpaolof@uj.ac.za

Notes for Contributors Download


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

Call for papers: General editions
Proposed publication date: 2019, 2020

The Journal of African Cinemas explores the interactions of visual and verbal narratives in African film. It recognizes the shifting paradigms that have defined and continue to define African cinemas. Identity and perception are interrogated in relation to their positions within diverse African film languages. The editors are seeking papers that expound on the identity or identities of Africa and its peoples represented in film.

The aim is to create a forum for debate that will promote inter-disciplinarity between cinema and other visual and rhetorical forms of representation.

The editors are looking for articles, reviews, and comparative analyses regarding African cinema through its historical and contemporary legacies. The journal wishes to concentrate on the growing African cinematic society, as it interrogates African societies with regard to African filmmakers' conceptualization of space, time and identity. What is/are Africa/s and what is/are African cinema/s, might offer pertinent starting points. Some proposed topics are:

  • The film of the everyday and the "every-African": populist films and their language.
  • Shifting sites of authoritative discourses from knowledge to meaning.
  • African cinema as a cinema of cultural citizenship vis a vis the anthropological, national or global idea of culture.
  • The propagation of the verbal culture-based film.
  • Professional, pedagogical and theoretical uses of African verbal cultures in the media (TV).
  • Cross-platform reflections on visual cultures within competing disciplines of identity study.
  • Representations of cities, spaces and places
  • Political economies of industries, film industry value chain analysis, and media city networks
  • Film education
  • Film and book reviews, short commentaries and evaluative festival reports
  • In-depth director Interviews Cineaste-style

All submissions should not be more to 8,000 words and should include a 200 word abstract and five keywords. The 8,000 words includes references, graphics and photos equivalent to 250 words each. The document(s) should be sent as Microsoft Word and/ or JPEG attachment(s) respectively.

Call to action: Please submit research papers and reviews to David Nothling, jac@uj.ac.za

Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.

Editorial Board

Keyan G. Tomaselli
University of Johannesburg, South Africa
keyant@uj.ac.za

Martin Mhando
Murdoch University
M.Mhando@murdoch.edu.au

Editorial Coordinator

David Nothling
University of Kwa-Zulu Natal.
jac@uj.ac.za

Book and Film Reviews Editor

Pier Paolo Frassinelli
University of Johannesburg
pierpaolof@uj.ac.za

Editorial Board

Claire Andrade-Watkins
Emerson College, USA

Olivier Barlet
Africultures, France

Lizelle Bisschoff
University of Stirling, Scotland, University of Glasgow, UK

Boulou Ebanda de B'béri
University of Ottawa, Canada

Dominica Dipio
Makerere University, Uganda

Lindiwe Dovey
School of Arts, SOAS, University of London, London

Marie-Hélène Gutberlet
J.W.Goethe-Universität, Germany

Kenneth W. Harrow
Michigan State University, USA

Jonathan Haynes
Long Island University, USA

David Kerr
University of Johannesburg, South Africa

Ntongela Masilela
Pitzer College, USA

Nyasha Mboti
University of Johannesburg

Alessandra Meleiro
Federal University of São Carlos

Nhamo Mhiripiri
Midlands State University, Zimbabwe

Jyoti Mistry
Valand Academy, Sweden

Bhekizizwe Peterson
University of Witwatersrand, South Africa

Sheila Petty
University of Regina, Canada

David Slocum
Steinbeis University, Germany

Stefanie van der Peer
University of Exeter, UK

Sylvia Vollenhoven
Vision in Africa, the Thomson Foundation, South Africa

Janina Wozniak
Nelson Mandela University

Editorial Board

Keyan G. Tomaselli
University of Johannesburg, South Africa
keyant@uj.ac.za

Martin Mhando
Murdoch University
M.Mhando@murdoch.edu.au

Editorial Coordinator

David Nothling
University of Kwa-Zulu Natal.
jac@uj.ac.za

Book and Film Reviews Editor

Pier Paolo Frassinelli
University of Johannesburg
pierpaolof@uj.ac.za

 
British Humanities Index
 
EBSCO
 
Emerging Sources Citation Index
 
ERIH
 
FIAF (International Federation of Film Archives)
 
Film and Television Literature Index
 
Film and Television Literature Index (with FT)
 
International Bibliography of the Social Sciences (IBSS)
 
International Index to Black Periodicals (IIBP)
 
International Index to Film Periodicals
 
International Index to the Performing Arts (IIPA)
 
MLA
 
RILM (Abstracts of Music Literature)
 
Scopus
 
Summon
 
TOC Premier
 
Ulrich’s
 
Worldwide Political Science Abstracts

Contents

  • Volume (11): Issue (1)
  • Cover date: 2019


Contents

  • Volume (11): Issue (2)
  • Cover date: 2019


Contents

  • Volume (11): Issue (3)
  • Cover date: 2019


Contents

  • Volume (10): Issue (1&2)
  • Cover date:


Contents

  • Volume (10): Issue (3)
  • Cover date:


Contents

  • Volume (9): Issue (1)
  • Cover date: 2017


Contents

  • Volume (9): Issue (2&3)
  • Cover date: 2017


Contents

  • Volume (8): Issue (1)
  • Cover date: 2016


Contents

  • Volume (8): Issue (2)
  • Cover date: 2016


Contents

  • Volume (8): Issue (3)
  • Cover date: 2016


Contents

  • Volume (7): Issue (1)
  • Cover date: 2015


Contents

  • Volume (7): Issue (2)
  • Cover date: 2015


Contents

  • Volume (6): Issue (1)
  • Cover date: 2014


Contents

  • Volume (6): Issue (2)
  • Cover date: 2014


Contents

  • Volume (5): Issue (1)
  • Cover date: 2013


Contents

  • Volume (5): Issue (2)
  • Cover date: 2013


Contents

  • Volume (4): Issue (1)
  • Cover date: 2012


Contents

  • Volume (4): Issue (2)
  • Cover date: 2012


Contents

  • Volume (3): Issue (1)
  • Cover date: 2011


Contents

  • Volume (3): Issue (2)
  • Cover date: 2011


Contents

  • Volume (2): Issue (1)
  • Cover date: 2010


Contents

  • Volume (2): Issue (2)
  • Cover date: 2010


Contents

  • Volume (1): Issue (1)
  • Cover date: 2009


Contents

  • Volume (1): Issue (2)
  • Cover date: 2009


Editorial Board

Keyan G. Tomaselli
University of Johannesburg, South Africa
keyant@uj.ac.za

Martin Mhando
Murdoch University
M.Mhando@murdoch.edu.au

Editorial Coordinator

David Nothling
University of Kwa-Zulu Natal.
jac@uj.ac.za

Book and Film Reviews Editor

Pier Paolo Frassinelli
University of Johannesburg
pierpaolof@uj.ac.za

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