Notes for Contributors
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 Pubkit page.
- Electronic copies should be submitted by Word format.
- Please submit 2 versions of your submission. One should be fully anonymised, one should include the name of author, author institutional affiliation, author biography, street and email addresses and acknowledgements.
- Please note that articles accepted for publication cannot be sent to the publishers until they contain the above information:
- Correct Harvard-style references (see below for details)
- Name of author, author institutional affiliation, author biography, street and email addresses and acknowledgements [de-anonymised version only]
- Abstract (max. 150 words)
- Keywords (6–8), in lower case
- A list of ‘References’ containing only works cited in the article
- 1.5 spacing
- 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.
- ‘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.
- 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.
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 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.
- 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.
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.
(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.
Beittel, Mark (1990), ‘Mapantsula: Cinema, Crime and Politics on the Witwatersrand’, Journal of Southern African Studies, 16: 4, pp. 751─760.
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.
Richie, Peter (2007), ‘Bunnychow a Taste of South Africa’, Sunday Times, 28 September, p. 15.
Oosthuysen, Chantel (1997), Intertextuality in the Soap Opera Egoli: Culture and Consumption, Masters thesis: University of KwaZulu-Natal at Durban.
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.