Film-Philosophy

Scope & Guideline

Fostering Multidisciplinary Dialogues in Film and Thought

Introduction

Immerse yourself in the scholarly insights of Film-Philosophy with our comprehensive guidelines detailing its aims and scope. This page is your resource for understanding the journal's thematic priorities. Stay abreast of trending topics currently drawing significant attention and explore declining topics for a full picture of evolving interests. Our selection of highly cited topics and recent high-impact papers is curated within these guidelines to enhance your research impact.
LanguageEnglish
ISSN1466-4615
PublisherEDINBURGH UNIV PRESS
Support Open AccessYes
CountryUnited Kingdom
TypeJournal
Convergefrom 1998 to 1999, from 2006 to 2024
AbbreviationFILM-PHILOS / Film-Philos.
Frequency3 issues/year
Time To First Decision-
Time To Acceptance-
Acceptance Rate-
Home Page-
AddressTHE TUN-HOLYROOD RD, 12 2F JACKSONS ENTRY, EDINBURGH EH8 8PJ, SCOTLAND

Aims and Scopes

Film-Philosophy is a journal dedicated to exploring the intricate relationship between cinema and philosophical thought. It aims to investigate how films can serve as a medium for philosophical inquiry, as well as how philosophical concepts can illuminate cinematic practices and narratives.
  1. Philosophical Analysis of Film:
    The journal focuses on examining films through various philosophical lenses, including existentialism, phenomenology, and ethics, to enrich understanding of cinematic texts and their implications.
  2. Interdisciplinary Approaches:
    It embraces an interdisciplinary methodology, drawing on insights from fields such as cultural studies, aesthetics, and critical theory, to explore the complexities of film as a cultural artifact.
  3. Cinematic Aesthetics and Ethics:
    There is a consistent emphasis on the aesthetics of film and the ethical dimensions of cinematic representation, particularly in relation to contemporary social issues and historical contexts.
  4. Exploration of Film Theory and Criticism:
    The journal contributes to film theory by engaging with both classical and contemporary philosophical thought, offering critiques and new perspectives on established theories.
  5. Engagement with Diverse Cinematic Forms:
    It encompasses a wide range of cinematic forms, including mainstream, avant-garde, and documentary films, thus fostering a comprehensive discourse on varied cinematic experiences.
The journal has increasingly embraced new and innovative themes that reflect contemporary philosophical debates and cultural phenomena. This section outlines the emerging scopes that are gaining traction within the journal's publications.
  1. Posthumanism and Nonhuman Perspectives:
    There is a growing interest in posthumanism and nonhuman perspectives in cinema, emphasizing how films address themes related to ecology, animal studies, and the implications of technology on human existence.
  2. Feminist Film Theory and Materiality:
    Feminist approaches to film, particularly those that examine materiality and embodiment, are increasingly prominent, reflecting a broader cultural movement towards gender studies and intersectionality within cinematic discourse.
  3. Neoliberalism and Cultural Critique:
    Recent publications are focusing on critiques of neoliberalism as depicted in film, exploring how cinema can disrupt dominant discourses and reflect societal anxieties regarding economic systems.
  4. Aesthetics of Slow Cinema:
    The aesthetics of slow cinema and its philosophical implications have emerged as a significant theme, allowing for deeper explorations of time, perception, and viewer engagement with film.
  5. Philosophical Engagement with New Media:
    There is a notable trend towards engaging with new media and digital cinema, exploring how these forms challenge traditional philosophical and aesthetic frameworks in film studies.

Declining or Waning

While Film-Philosophy has seen a rich diversity of topics, certain themes appear to be diminishing in frequency or importance over recent years. This section highlights those waning scopes, indicating a shift in the journal's focus.
  1. Traditional Film Genres:
    Discussions centered on conventional film genres, such as classic Hollywood narratives, have become less prominent, suggesting a move towards more avant-garde and experimental cinema.
  2. Historical Film Analysis:
    There seems to be a decline in the focus on historical film analysis, particularly films that strictly adhere to historical accuracy or traditional storytelling, as the journal shifts to more contemporary and abstract interpretations.
  3. Reductionist Philosophical Frameworks:
    The use of reductionist or overly simplistic philosophical frameworks to analyze films appears to be waning, indicating a preference for more nuanced and complex philosophical discussions that engage with multiple perspectives.

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