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Guidelines for Writers

Cineaste is a quarterly magazine (founded in 1967) which offers a social, political and esthetic perspective on the cinema. We are not affiliated with any organization or institution. We are interested in all areas of the cinema, including Hollywood films (old and new), American independents, quality European films, and the cinema of the Third World. Familiarity with our editorial policies is a must for authors. The most frequent reason we reject material is that the potential contributor has sent material which, because of length or style or orientation, is clearly out of place in our pages.

STYLE: Our target audience is the intelligent general public, a public that is fairly sophisticated about both art and politics. No matter how complex the ideas or arguments advanced, we demand readability. We think it is the job of the writer to clarify his or her thoughts and not for the reader to decipher clumsy formulations. We dislike academic jargon, obtuse Marxist terminology, film buff trivia, trendy 'buzz' phrases, and show biz references. We do not want our writers to speak of how they have 'read' or 'decoded' a film, but to view, analyze and interpret same. The author's processes and quirks should be secondary to the interests of the reader. Warning the reader of problems with specific films is more important to us than artificially 'puffing' a film because its producers or politics are agreeable.

FEATURE ARTICLES: Articles should discuss the subject (a film, film genre, a career, a theory, a movement, etc.) in depth. The author should detail the particular sociopolitical and artistic content. When appropriate, provide documentation or quotes on the producer's intentions rather than your speculations. Be aware of the political implications of the work and its social perspectives, whatever the actual plot or genre. Whenever possible, sources should be incorporated into the text rather than footnoted. Preferred length for feature articles is 3,000-4,000 words. Send a letter of inquiry on a feature idea or provide an outline. Include a stamped, self-addressed envelope. Do not call the office to speak to an editor about article ideas. We want to see your proposal in writing.

One article format we encourage is an omnibus review of several current films, preferably those not reviewed in a previous issue. Such an article would focus on films that perhaps share a certain political perspective, subject matter. or generic concerns (e.g., films on suburban life, or urban violence, or revisionist Westerns). Like individual Film Reviews, these articles should incorporate a very brief synopsis of plots for those who haven't seen the films. The main focus, however, should be on the social issues manifested in each film and how it may reflect something about the current political/social/esthetic climate.

INTERVIEWS: Interviews may be with directors, performers, writers, composers, producers, distributors, technicians, or anyone else involved in the creative or business side of filmmaking. We expect the interview to be hardhitting in that challenging (not necessarily hostile) questions are posed and difficult or controversial points pursued. Our experience is that most interviewees respect a well-prepared interviewer who takes their work seriously enough to ask demanding questions. 'Puff' pieces are boring. We are interested in 1) In-depth career interviews with major personalities; 2) Medium-length interviews usually on a current production or issue; and 3) Very short interviews of a few questions which can be used as a sidebar interview with a review.

An interview is more than a transcript of questions and answers. Transcripts must be edited, condensed, and, if necessary, rearranged to bring major themes into focus. The interviewee should see this material for approval before submission to us. It is helpful, but not necessary, to provide a brief, straightforward introduction and a suggested title. Photos are also appreciated. We wish to emphasize that the focus of the interview is the interviewee, not the interviewer. A typical sign of a poor interview is the inordinate length of the questions which are as long, or even longer, than the answers.

FILM REVIEWS: We prefer reviews that focus on one current film. The review should tell what is of merit and what is not in the film under discussion. It should incorporate a very brief synopsis or description of the plot for those who haven't seen the film. Your review should not be a long plot outline with appended evaluations. We are concerned with esthetics as well as content, with how cinematic techniques affect a film's impact. Preferred length is about 1,500 words for feature reviews

 

BOOK REVIEWS: Book reviews should deal with newly published books, although recent books as much as two years old may be covered depending on the work's importance. Reviewers may focus on one title or cover several related ones. We encourage review-essays in which the discussion serves as a vehicle for a broader treatment of ideas or issues; but, to be fair to authors, their works deserve to be treated seriously rather than merely as launching pads for general essays. Preferred length for feature reviews is 1,000-2,000 words; capsule reviews are 300-400 words. Provide complete publication information (e.g., publisher, year of publication, number of pages, illus., etc.), following the format used in the "Book Reviews" section. Writers should query the Book Review Editor before submitting book reviews.

COLUMNS: "Homevideo" articles (1,000-1,500 words) should deal with topics of general interest or a related group of films; individual title reviews should be 300-500 words. "A Second Look" articles (1,000-1,500 words) should offer a new interpretation of a film classic or a reevaluation of an unjustly neglected release of more recent vintage. "Lost and Found" articles (1,000-1,500 words) should discuss a film that may or may not be released or otherwise seen in the U.S. but which is important enough to be brought to the attention of our readers. "Communiqués" columns (1,000-1,500 words) should focus on film festivals of particular political importance, providing as much broader social and artistic context as possible for the specific films discussed since many of the latter may not be released or otherwise screened in the U.S.

SUBMISSIONS: We assume that all manuscripts are not reworked versions of previously published or simultaneously submitted material. Manuscripts should be neatly typed and must be either double- or triple-spaced. Manuscripts will be responded to in from 2-4 weeks. Unsolicited material will be given serious consideration, but it is best to query first (with stamped, self-addressed envelope) in case the film, book, or topic has already been assigned. No term papers, please! If you wish your manuscript returned, provide a stamped, self-addressed envelope, otherwise it will be discarded. Do not call the office about submissions unless more than a month has elapsed since making your submission. Long distance phone calls will be returned collect.

REVISIONS: If we feel the material needs further work, we will either 1) Return the material to you with suggestions for changes, or 2) Make changes and submit the revised manuscript for your approval before publication. A Writer's Agreement Form will be sent for all manuscripts accepted for publication.

PAYMENT: We currently pay a minimum of $10 for "Short Takes" reviews; $20 for book or video reviews (the author also gets to retain the book or video reviewed); a minimum of $50 for film reviews and short articles, columns or essays; a minimum payment of $30 for short or 'sidebar' interviews; and a minimum payment of $100 for feature articles or feature interviews. Contributors also receive three copies of the issue for short pieces and six copies for feature material. We hope to raise these rates, knowing that good writing merits adequate compensation. Kill fees (50% of the above rates) may be paid for material assigned by the editors. Royalties from subsequent book publication will be split 50/50 with the author. Our percentage will be waived when the book is a collection of the author's work or is edited by the author.

All material submitted will be carefully read. Although we have published some of the best known writers on film, we have also been the first place of publication for many writers. All the editors are themselves writers and are aware of the curt treatment writers so often receive from indifferent editors. The least you can expect from us is a thoughtful reading of your work, even though we may not be able to write you with detailed comments.

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