The Moving Image: The Journal of the Association of Moving Image Archivists
The essential source for new thought on preservation, archiving, and restoration of film, video, and digital moving images.
The Moving Image: The Journal of the Association of Moving Image Archivists
Prepayment is required for all subscriptions. Institutions may also subscribe digitally through Project MUSE.
Journal Information
- ISSN: 1532-3978
- eISSN: 1542-4235
- Frequency: Twice per year
Description
The Moving Image explores topics relevant to both the media archivist and the media scholar. The Moving Image deals with crucial issues surrounding the preservation, archiving, and restoration of film, video, and digital moving images. The journal features detailed profiles of moving image collections; interpretive and historical essays about archival materials; articles on archival description, appraisal, and access; behind-the-scenes looks at the techniques used to preserve, restore, and digitize moving images; and theoretical articles on the future of the field.
Call for Submissions: The 2025 Nontheatrical Student Essay Award
In collaboration with AMIA (Association of Moving Image Archivists) and its journal, The Moving Image, the SCMS Nontheatrical Film and Media SIG is delighted to announce its third annual Nontheatrical Student Essay Award.
Designed to recognize outstanding graduate student scholarship founded upon archival nontheatrical research, this award underscores both organizations’ commitment to mentorship and professional development, connecting award-recipients with mentors to guide them through the process of crafting journal-ready manuscripts. The award-winning essay will also be published (subject to revisions) in The Moving Image.
To learn more, click here.
Call for Papers: Upcoming Special Issues
25.2: Film Heritage and Environmental Sustainability- Cultural Policy, Stewardship, and Technologies
26.1: Accessibility in Moving Image Archives
26.2: Reassessing Small Gauge, Amateur, and Nontheatrical Film
Editorial Information
Editor
Devin Orgeron, North Carolina State University (Emeritus)
Managing Editor
Liza Palmer
Reviews Editor
Brian Real, University of Kentucky
Editorial Board
Ilse Assmann, Independent Consultant for Radio and Television Archives
Snowden Becker, Stanford University Libraries
Tre Berney, Cornell University
Ed Carter, Academy Film Archive
Paolo Cherchi Usai, Cineteca del Friuli
Grover Crisp, Sony Pictures
Nico de Klerk, Utrecht University/Ludwig Boltzmann Institute for Digital History
Guy Edmonds, University of Plymouth
Meghan Fitzgerald, National Aeronautics and Space Administration
Peter Flynn, Emerson University
Giovanna Fossati, Eye Filmmuseum/University of Amsterdam
Terri Francis, University of Miami
Michael Gillespie, City University of New York
Anne Gourdet-Marès, Fondation Jérôme Seydoux-Pathé
Karen Gracy, Kent State University
Tom Gunning, University of Chicago
Dorinda Hartmann, Library of Congress
Heather Heckman, University of South Carolina
Jan-Christopher Horak, University of California, Los Angeles
Eric Hoyt, University of Wisconsin–Madison
Luna Hupperetz, University of Amsterdam/Vrije Universiteit
Jennifer Jenkins, University of Arizona
Jimi Jones, University of Illinois
Peter Kaufman, MIT Open Learning
Andrea Leigh, Library of Congress
Bert Lyons, AVP
Mike Mashon, Library of Congress
Jan Müller, Regional Public Broadcasting Foundation (RPO)
Charles Musser, Yale University
Joshua Ng, Archives New Zealand Te Rua Mahara o te Kāwanatanga
Kassandra O’Connell, Irish Film Institute
Miriam Posner, University of California, Los Angeles
Rick Prelinger, University of California, Santa Cruz
Meredith Reese, LA Phil
Lauren Sorensen, Stanford University Libraries
Katherine Spring, Wilfrid Laurier University
Shelley Stamp, University of California, Santa Cruz
Rachael Stoeltje, Indiana University
Dan Streible, New York University
Charles Tepperman, University of Calgary
Kara Van Malssen, AVP
Haidee Wasson, Concordia University
Mark Williams, Dartmouth University
Tami Williams University of Wisconsin–Milwaukee
Joshua Yumibe, Michigan State University
Submission Guidelines
AMIA will accept for submission to The Moving Image any article concerned with moving image archives in the widest sense. The journal will address issues involving all moving image materials, including historic and contemporary film, television, and video, new and emerging digital technologies, as well as paper and three-dimensional collections documenting the history of moving image media.
Content includes:
- Traditional scholarly papers and historical essays, addressing aspects of the moving image archives field or highlighting specific collections
- In-depth examinations of specific preservation and restoration projects
- Detailed profiles of moving image collections or archives
- Interviews with leading figures in the moving image archives community
- Behind-the-scenes looks at the techniques used to preserve and restore our moving image heritage
- Theoretical and visionary articles on the future of the field
- Technical and practical articles on research and development in the field
- Reviews of books and films directly related to the archival field
The Moving Image also has unique relevance for scholars who rely upon archives, both physical and electronic, for their scholarship and teaching. It is a forum for those concerned with such diverse topics as the ethics of restoration, the study of home movies and other nontheatrical forms, intellectual property restrictions affecting preservation and access to archival moving images, genre definitions, and film/videography of underrepresented visual cultures. We welcome submissions on these and other film and media history topics, especially those that illuminate the value of archives or that utilize underappreciated archival sources.
Inquiries and submissions should be directed electronically to editor@themovingimage.org.
Review copies of DVDs or books should be sent to the AMIA Office at 1313 North Vine Street, Los Angeles, CA 90028.
Publication Ethics and Malpractice Statement
Editor
- The editor of The Moving Image is responsible for identifying and contacting peer reviewers, always keeping in mind potential conflicts of interest and making sure that submissions are evaluated in terms of scholarly content and contribution without regard to the identity and affiliation of the author.
- The editor of The Moving Image ensures the confidentiality of authors and reviewers.
- Based on The Moving Image’s internal and external review process, the editor decides whether to accept, reject, or encourage revision and resubmission of the manuscript.
Author
- Guidelines for authors appear on the The Moving Image website and will be sent on request.
- Authors are required to state whether the article has been submitted to or is under review with another publication and whether the article has previously been published in another journal.
- Authorship should be limited to those who have made a significant contribution to the submission. Authors should ensure that all the listed authors have seen and agreed to the submitted version of the manuscript and to the inclusion of their names as co-authors.
- Authors are expected to respect the intellectual properties of others, through acknowledgement of sources, proper citation and attribution, quotation of direct texts taken from other sources, and recognition of research participants and research funders.
- Before a submission can be published, authors will be required to sign the University of Minnesota Press Contributor Agreement Form and a Permissions Agreement regarding illustration and artwork.
- Authors should communicate any errors discovered after publication directly to the editor and publisher.
Review Policies
Editor
- The editor will independently review and select submissions in a confidential process, and reserve the right to reject any submission that does not meet the journal’s standards. Submissions will not be discussed or shared beyond those directly involved in the publication process, such as reviewers and editorial staff.
- Articles undergo an internal review by the editor and, when relevant, members of the Editorial Board. If submissions are deemed appropriate for the journal, they undergo double-blind peer review. The Moving Image sends authors reviewer comments and a decision about publication as expeditiously as possible.
- The editor will make every effort to ensure that the selection process and peer review of submissions is fair and unbiased, and that peer review is undertaken by qualified scholars in the appropriate field who are free of conflicts of interest.
- The editor’s decision to accept or reject an article for publication in The Moving Image is based only on the submission’s relevance to the remit of the journal and the significance of the submission as a work of original scholarship.
Reviewers
- Reviewers should have no potential conflict of interest.
- Potential reviewers are provided with the title and abstract of the submission, and if they agree to serve as reviewers and have no conflicts of interest, are sent The Moving Image’s review guidelines.
- In order to protect the anonymity of the double-blind peer review process, reviewers are requested to keep confidential all information regarding submissions to The Moving Image.
Authors
- For revised resubmissions, authors should address all comments and suggestions by reviewers and provide an account of the revisions undertaken.
Non-Academic Authors / Mentorship
- Because The Moving Image frequently works with new authors and / or authors in nonacademic fields, the journal occasionally opens the review process. In all such cases, the editor obtains permission from all parties and then initiates a close, non-anonymous mentoring relationship that retains the rigor of double-blind peer review while foregrounding the reviewers’ investment in assisting authors less accustomed to academic writing.
- Authors are assigned one academic and one archival mentor who provide feedback and suggestions for revision based upon the same review guidelines used in the double-blind review process.
Conflict of Interest Guidelines
Editor
Conflicts of interest are considered to occur when the editor has private interests that interfere with their ability to make an unbiased final decision on any manuscript. In cases where it is deemed an editorial conflict of interest exists, including (but not limited to) financial interest or a personal relationship with the author, the editor of The Moving Image will disclose this to members of the Editorial Board and be recused from making a decision on the article.
Authors
Authors are expected to disclose any potential conflicts of interest. Conflicts of interest for authors occur when their private interests influence the objectivity of research. In order to avoid conflicts, authors should acknowledge the following upon submission of their manuscript:
- All sources of research funding.
- Any financial or nonfinancial interests that may have impacted presentation of their research.
Reviewers
The following situations are considered conflicts of interest for reviewers and will be avoided:
- Co-authoring publications with at least one of the authors in the past 3 years, not including edited collections.
- Being colleagues within the same section / department or similar organization unit in the past 3 years.
- Supervising / having supervised the doctoral work of the author(s) or being supervised / having been supervised by the author(s).
- Having a personal relationship (e.g., family, close friend) with the author(s).
- Having a direct or indirect financial interest in the paper being reviewed.
It is not considered a conflict of interest if the reviewers have worked together with the authors in a collaborative project or if they have co-organized an event.
Allegations of Misconduct
- The editor will promptly investigate complaints related to pieces published in this journal.
- When there is an allegation of academic misconduct, we solicit a response from those accused, seek full documentation of the allegation, and consult with the editorial board to determine any appropriate steps.
- After consultation with the editorial board, the editor will work with the author(s) to ethically address the issue and come to the appropriate solution, whether that is revising the article, issuing an apology, and/or retracting the piece.
Retractions
The editor will consider retraction if:
- They have evidence that the article presents unreliable findings, includes unethical or fabricated research, plagiarizes other materials, or infringes upon copyright.
- The author(s) and / or reviewer(s) failed to disclose a major conflict of interest during the peer review process that impacted the decision to publish by the editor.
In all cases, the editor will promptly publish a retraction statement that clearly identifies the article and explains the reason for retraction.
Subscribe
For print individual and institutional orders, please click the subscribe button. To place a single title institutional subscription, Project MUSE account holders may use the Single Title Order Form.
To check the availability of back issues and to place a single copy order, please email journals@umn.edu.
Abstracting & Indexing
Chadwyck-Healey: FIAF (International Index to Film Periodicals)
Clarivate: Arts & Humanities Citation Index
Clarivate: Current Contents
Clarivate: Web of Science
EBSCO: Art & Architecture Source
EBSCO: Arts Abstracts (H.W. Wilson)
EBSCO: Art Index (H.W. Wilson)
EBSCO: Biography Index-Past and Present (H.W. Wilson)
EBSCO: Book Review Digest Plus (H.W. Wilson)
EBSCO: Communication & Mass Media Complete
EBSCO: Communication Source
EBSCO: Current Abstracts
EBSCO: Film & Television Literature Index
EBSCO: Film & Literature Index with Full Text
EBSCO: MLA International Bibliography
EBSCO: OmniFile Full Text Mega (H.W. Wilson)
EBSCO: OmniFile Full Text Select (H.W. Wilson)
EBSCO: TOC Premier
Elsevier: SCOPUS
Gale: Advanced Placement Fine Arts and Museic
Gale: Gale Academic OneFile
Gale: Gale General OneFile
Gale: Gale Literature-Book Review Index
Gale: Gale OneFile: FineArts
Gale: InfoTrac Custom
Gale: MLA International Bibliography
Gale: Gale OneFile-Communications and Mass Media
OCLC: ArticleFirst
OCLC: Electronic Collections Online
Ovid: FIAF Databases
ProQuest: Arts Premium Collection
ProQuest: Humanities Index (Online, Ann Arbor)
ProQuest: MLA International Bibliography
ProQuest: Music & Performing Arts Collection
ProQuest: Performing Arts Periodical Database
Advertising
Rates
SIZE | SPECS | PRICE |
---|---|---|
Full page | 6″ x 9″ | $300 |
Half page | 6″ x 4.25″ | $150 |
Discounts are not available at this time.
Mechanical Requirements
- Trim size is 7″ x 10″.
- 133 line screen.
- Camera-ready copy.
- No color or bleeds.
- PDF files also accepted.
Scheduling and advertising questions? Contact*:
The Moving Image
Attn: Shelby Connelly
University of Minnesota Press
111 Third Ave. S., Suite 290
Minneapolis, MN 55401-2520
Phone: 612-301-1938
Fax: 612-301-1980
* Film industry advertisers: Contact AMIA directly regarding ad rates.
2023-2024 Student Essay Award Winners
Congratulations to the following two students on receiving the first two AMIA/SCMS Nontheatrical Student Essay awards. Their work will be featured in upcoming issues of The Moving Image:
The AMIA / SCMS Nontheatrical Student Essay Award, 2023
“Rethinking agency in the first national family planning campaign: Politics and patterns of feminist agency in the works of Films Division of India (1948-75)”
Poorvi Guar – Film Studies, Queen Mary University of London
The AMIA / SCMS Nontheatrical Student Essay Award, 2024
“Filming as Knowing: Producing Archive and Ethnicities in the ‘Chinese Ethnographic Film Series’ (1957-1978)”
Runjie Wang – Dept. of Cinema and Media Studies, University of Washington
We look forward to seeing this excellent and timely work laid out in the journal!
The Moving Image is grateful to the SCMS Nontheatrical Film SIG for helping us in our mission to work with more student writers AND to bridge the gap between our organizations.
Congratulations, Poorvi and Runjie. We hope these essays inspire others!