Call for Papers: “Digital Cinema” for Special Issue of sinecine: Journal of Film Studies
Special Issue Editor: Hakan Erkılıç (Mersin University)
sinecine‘s special issue of digital cinema aims to examine digital cinema by considering its interactions with theory, technology, ideology and new media.
The transition from the conventional production style based on film to the digital cinema production style is considered by some theorists as the death of cinema (Friedberg, 2000; Cherchi Ushai, 2001; Belton, 2002; Gaudreault and Marion, 2015). Thus, digital cinema is described as a false revolution (Belton, 2002) and discussions on post-cinema (Denson and Leyda, 2016) begin. In the Bazinian (1995; 2011) sense, it is claimed that reality (the myth of total cinema, the ontology of the photographic image, indexicality) has disappeared (Rosen, 2001; Rodowick, 2007), whereas there are also studies (Brown, 2015; Gaudreault and Marion, 2015) arguing that digital cinema achieves this in the best possible way. Another approach considers film not as an unchanging work of art, but instead as Cinema 3.0 (Daly, 2010), which takes place in the world of cross-media interaction, includes user participation and thus enables new forms of expression. It is possible to read the practices of VR, 3D, artificial intelligence and interactive cinema within this framework. CGI and VFX, which are at the center of the digital cinema debate, are often criticized for disrupting the narrative flow or contributing little or no to the narrative, story, character development. However, Whissel (2014) argues that CGI dramatically captures the main themes, concerns and desires of the films in which it takes place. Every great change means that the old dies and the new is born. However, digitalization in cinema should be evaluated not as a break, but as an evolution. In this process, digital cinema begins to create its own concepts and theories. Theoretical perspectives such as “elastic reality” in animation cinema (Manovich, 1995), “cinema as a cultural interface” (Manovich, 1997), “perceptual realism” (Prince, 1996), “liquid cinema” (Frampton, 2012), “digitographic” (Hadjioannou, 2012) and “supercinema” (Brown, 2015) are added to the literature of cinema.
Digital cinema also causes structural changes in the global cinema industry. The convergence experienced in the digital era of cinema, where software, hardware and thought are organized together, makes the cinema industry move from “project based production” of film production to “business based production” through technological accumulation and companies organized in an industrial ecosystem (Salvador, Simon & Benghozi 2019). The traditional value chain of cinema is turning into the New Media Business Model (Finney 2010) and digital platforms are on the rise due to the devastating effects of the COVID-19 pandemic on the cinema industry. Within this framework, in the digitalized world, viewing practices and the audience also begin to change, diversify and become plural (Cassetti, 2011; Maltby, Biltereyst & Meers, 2011). Along with digitalization, alternative financial resources specific to the new economy are taking shape (such as crowdfunding) and a new paradigm is emerging that overturns the top-down one-way production model.
As Cassetti (2011) stated, digital cinema emerges as an area that needs more research. For the special issue of sinecine: Journal of Film Studies focused on digital cinema, we are waiting for articles dealing with the theoretical, practical, industrial and aesthetic contexts of digital cinema. In this context, we invite original and transformative research that will make a critical contribution to the evolving academic discourse on the subject. Some of the suggested topics for the digital cinema special issue can be listed as follows:
Digital cinema and film theory
Digital cinema and reality
Digital cinema aesthetics and technology: CGI / VFX practices
Digital cinema and transmedia storytelling
Digital cinema and amateur film practices
Digital cinema, changing viewing practices and digital platforms
Digital cinema and film festivals
Digitization and documentary film
Digitization and 3D cinema
Digitization and interactive cinema
Digitization and VR
Digitization and artificial intelligence
Digitization and cinephilia
Digitization and film archives
Original research articles, short notes, and book reviews specific to the issue are expected for the special issue of sinecine: Journal of Film Studies focused on digital cinema. Papers must be original; papers accepted (or previously published) for publication elsewhere will not be considered. Articles (including notes and references) must not exceed ten thousand words (the ideal word count is 8,000). Explanatory notes must be numbered within the text and placed at the bottom of the relevant page. An abstract of 250-300 words in Turkish and English (with 5 keywords), and an extended abstract of 600-800 word in English must be added. The papers to be evaluated in the Notes column such as film reviews, book promotions or meeting/festival reviews can be 2000-4000 words. Articles must be written in 12-point Times New Roman font with 1,5 line spacing while footnotes must be written with 10-point Times New Roman font with 1 line spacing. For articles, the name of the author, a short biography, the title of the article, the full address and e-mail address of the author must be written on a separate page. For more information on article writing format, see also https://dergipark.org.tr/tr/pub/sinecine and https://www.sinecinedergi.org/tr/. In sinecine: Journal of Film Studies, no fee is charged from the authors in any way. Papers must be uploaded to the Dergipark system at https://dergipark.org.tr/tr/pub/sinecine. In the submission, authors must indicate that their paper is for the “special issue: digital cinema”.
sinecine Special Issue: Digital Cinema publication date: 01 December 2022
Deadline for submissions for articles: 01 May 2022
All articles will go through the blind peer review process after the editorial board evaluation.
sinecine: Journal of Film Studies
sinecine aims to bring different disciplines together on the common denominator of cinema and create an area for research, discussion, criticism and questioning within the social sciences, art and human sciences. sinecine articles are published online. sinecine is a peer-reviewed journal indexed in the FIAF (International Federation of Film Archives) International Index to Film Periodicals and the TR Dizin (The Turkish Index of the Turkish Technological Research Council’s National Academic Network and Information Center). Turkish and English papers are published in sinecine.
Special Issue Editor and Links
Hakan Erkılıç email@example.com
Selver Dikkol (Editorial assistant)
Nil Yüce (Editorial assistant)