期刊名称：PHOTOGRAPHY AND CULTURE
 期刊简介(About the journal)
投稿须知(Instructions to Authors)
编辑部信息(Editorial Board)
About the journal
Photography & Culture is a refereed journal that is international in its scope and inter-disciplinary in its contributions. It aims to interrogate the contextual and historic breadth of photographic practice from a range of informed perspectives and to encourage new insights into the media through original and incisive writing.
Photography & Culture publishes research papers, discursive critiques and reviews. It appears at a key moment as photography evolves; once again, to embrace a technological change that is shifting both contemporary usage and historic understanding.
This journal has quickly established itself as a leading platform for critical thinking on photography and as essential reading the world over for academics, curators and practitioners with a central and indeed tangential interest in the media.
abstracting/indexing services:
- AIO Anthropological Index Online
- Art and Architecture Index
- ARTbibliographies Modern
- British Humanities Index
- Current Contents / Arts and Humanities
- IBR International Bibliography of Book Reviews of Scholarly Literature in the Humanities and Social Sciences
- IBZ International Bibliography of Periodical Literature on the Humanities and Social Sciences
- ISI Arts and Humanities Citation Index
Instructions to Authors
1) Manuscript Submissions
Should you have an article you would like to submit, please email the editors at photographyandculture@bloomsbury.com.
2) Book and Exhibition Reviews
Please contact the appropriate editor for consideration for review in Photography & Culture:
UK/ROW:
Mark Durden
Professor of Photography
School of Art, Media and Design
University of Wales, Newport
Caerleon Campus
Lodge Road
Newport
NP18 3NT
UK
Email: Mark.Durden@newport.ac.uk
US/Canada:
Jessica McDonald
Curator of Photography
Harry Ransom Center
The University of Texas at Austin
P.O. Drawer 7219
Austin, Texas 78713-7219
Email:jessica.s.mcdonald@utexas.edu
Notes for Contributors
The Editors welcome submissions that explore issues related to the areas described in the Photography and Culture journal description document. Indeed, any relevant aspect of Photography and Culture will be considered as long as both those elements form the core of the submission. It is requested that plain language be aspired to, with the use of jargon or specialized terminology kept to the absolute minimum. (Where specialized terms are unavoidable, please supply a glossary.) All submissions considered for publication will be subject to peer review.
Submissions aimed at being major articles should be approximately 3,000–10,000 words in length and must include a brief (two- or three-sentence) biography of the author(s), an abstract (up to about 200 words) and up to ?ve keywords. Shorter papers (“Notes”) should range between 500 and 2,500 words in length. Interviews should not exceed 15 pages (about 4,000 words) and do not require an author biography. Exhibition and book reviews are normally 500–2,000 words in length.
Electronic submissions (preferred, certainly in the ?rst instance) should be sent to photographyandculture@bloomsbury.com. Microsoft Word is the preferred word-processing program, where possible. Scanned illustrations will suf?ce, though originals may possibly be requested in certain circumstances if the submission is successful. (Originals will be returned.) Please scan to letter or A4 size at 300 dpi for photographs/halftone, or 600 dpi for maps or illustrations containing text. Illustrations embedded in Word documents cannot be used. Similarly, graphics downloaded from webpages are not of suf?cient quality for print reproduction.
A disk as well as a hardcopy of any ?nally accepted contributions may occasionally be requested. (Please mark clearly on the disk what word-processing program has been used. Bloomsbury accepts most programs with the exception of Clarisworks.) Manuscripts or disks should be submitted to the current Photography and Culture postal address: Photography and Culture, PO Box 11, Moreton-in-Marsh, GL56 0ZF, UK.
Submissions will be acknowledged by the managing editors, and those accepted for further consideration will be entered into the review process. Electronic manuscripts and scanned illustrations will not be returned. Submission to the journal will be taken to imply that the article is not being considered elsewhere for publication, and that if accepted for publication it will not be published elsewhere, in the same form, in any language, without the consent of the editors and publisher. It is a condition of acceptance by the editors of a submission for publication that the publishers, Bloomsbury, automatically acquire the copyright of the published article throughout the world. Photography and Culture does not pay authors for their submissions nor does it provide retyping, drawing, or mounting of illustrations.
Style
The journal’s text will use US spelling and mechanicals. The Chicago Manual of Style [15th Edition] is our style guideline, and Webster’s Dictionary is our arbiter of spelling. While it would be preferred if contributors used US English, submissions in British English will be acceptable (though such submissions will be transliterated into US spelling and mechanicals). We encourage the use of major subheadings and, where appropriate, second-level subheadings. Manuscripts (whether electronic or hardcopy) submitted for consideration as articles must contain: a title page with the full title of the article, the author name(s), address and af?liation where relevant (do not place the author name(s) on any other page of the manuscript), a two- or three-sentence biography for each author, and a 200-word abstract. Up to ?ve keywords are requested to aid in any future library searches. Please present the keywords after the abstract.
Electronic manuscripts can be either single- or double-spaced. If hardcopy manuscripts are involved, then they must be typed double-spaced (including quotations, notes, and references cited), one side only, with at least one-inch margins on standard paper using a typeface no smaller than 12-point. Authors should retain a copy for their records.
It would be preferred that submissions be presented with paragraph breaks involving a line space (double line space if presenting a double-spaced text, of course) between paragraphs and without ?rst-line indentation, as in this set of guidelines.
Notes and References
References to notes are to be by means of consecutive numbers inserted in-text throughout the paper and are to be written up at the end of the text. (Do not use any footnoting or end-noting programs that your software may offer as this text becomes irretrievably lost at the typesetting stage.)
For references, the “Harvard system” is to be used in-text, thus:
Centuries ago in Europe, country people were terri?ed of the walking dead, of “revenants” (Smith 1989). They developed all kinds of protective procedures (Jones 1957; Morris 1972, 1984), and though these may seem bizarre to us now they were deemed absolutely necessary at the time.
The cited references should be presented at the end of the paper, after any notes, in this manner:
References
Dewdney, S., 1962. Indian Rock Paintings of the Great Lakes. Toronto: University of Toronto Press.
Dowson, T., 1992. Rock Engravings of Southern Africa. Johannesburg: Witwatersrand University Press.
Fagg, B., 1957. “Rock Gongs and Slides.” Man 57: 30–2.
Goldhahn, J., 2002. “Roaring Rocks: An Audio-Visual Perspective on Hunter-Gatherer Engravings in Northern Sweden and Scandinavia.” Norwegian Archaeological Review 35(1): 29–61.
Hedges, K., 1990. “Petroglyphs in Menifee Valley.” Rock Art Papers 7: 75–82.
Lawson, G., Scarre, C., Cross, I. and Hills, C., 1998. “Mounds, Megaliths, Music and Mind: Some Thoughts on the Acoustical Properties and Purposes of Archaeological Spaces.” Archaeological Review from Cambridge15(1): 11–34.
Palmer, D. and Pettitt, P., 2001. “In Search of our Musical Roots.” Focus 105: 80–4.
Rajnovich, G., 1994. Reading Rock Art: Interpreting the Indian Rock Paintings of the Canadian Shield. Toronto: Natural Heritage/Natural History Inc.
Reznikoff, I., 1995. “On the Sound Dimension of Prehistoric Painted Caves and Rocks,” in E. Taratsi (ed.), Musical Signi?cation. Berlin: Mouton de Gruyter.
Rowland, I. and Howe, T.N. (eds.), 1999. Vitruvius: Ten Books on Architecture. Cambridge: Cambridge University Press.
Editorial Board
Editors
Kathy Kubicki, University for the Creative Arts, Farnham, UK
Thy Phu, Western University, Canada
Val Williams, Photography & The Archive Research Centre, University of the Arts London, UK
Assistant Editor
Monica Takvam, University for the Creative Arts, Farnham, UK
Editorial Advisor
Elizabeth Edwards, University of the Arts, UK
US Book & Exhibition Reviews
Jessica McDonald, Harry Ransom Center, The University of Texas at Austin, USA
UK Book & Exhibition Reviews
Mark Durden, University of Newport, UK
Editorial Advisory Board
Lars Kiel Bertelsen, University of Aarhus, Denmark
Susan Bright, Independent Writer and Curator, USA
Susan Butler, University of Wales, Newport, UK
David Campany, University of Westminster, UK
Richard Chalfen, Center on Media and Child Health, Boston, USA
Helen Ennis, Australian National University, Australia
Ross Gibson, University of Technology, Sydney, Australia
Frits Gierstberg, Nederlands Fotomuseum, The Netherlands
Sunil Gupta, Freelance Photographer and Curator, India
Greg Hobson, National Media Museum, Bradford, UK
Margaret Iverson, University of Essex, UK
Martyn Jolly, Australian National University, Australia
Louis Kaplan, University of Toronto, Canada
Robin Kelsey, Harvard University, USA
Martha Langford, Concordia University, Canada
Sigrid Lien, Bergen University, Norway
Susie Linfield, New York University, USA
Kerry McCarthy, Canterbury Museum, New Zealand
Mahmut Mutman, Istanbul Sehir University, Turkey
Douglas Nickel, Brown University, USA
Gil Pasternak, Photographic History Research Centre (PHRC), De Montfort University, UK
Richard Sawdon-Smith, London South Bank University, UK
Joan M Schwartz, Queen’s University, Canada
Tanya Sheehan, Rutgers, The State University of New Jersey, USA
Joel Smith, Princeton University Art Museum, USA
Shawn Michelle Smith, School of the Art Institute of Chicago, USA
Carol Squires, International Center of Photography, New York, USA
Herta Wolf, University of Cologne, Germany
Sophie Wright, Magnum Photos, London, UK
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