The Moving Image: The Journal of the Association of Moving Image Archivists

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, University of California, Los Angeles/Center for Home Movies

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, The City University of New York

Anne Gourdet-Mares, 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, JCH Archival Consulting

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, Intelligent TV

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, Whirl-i-Gig

Katherine Spring, Wilfrid Laurier University

Shelley Stamp, University of California, Santa Cruz

Rachael Stoeltje, Indiana University

Dan Streible, New York University

Kara Van Malssen, AVP

Haidee Wasson, Concordia University

Mark Williams, Dartmouth University

Tami Williams University of Wisconsin–Milwaukee

Joshua Yumibe, Michigan State University

Patricia Zimmermann, Ithaca College

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 collectionsdocumenting 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

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 under-represented visual cultures. We welcomesubmissions on these and other film and media history topics, especially those that 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.

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 ofscholarly 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
• 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
• Authors are required to state whether the article has been submitted to or is under review with anotherpublication and whether the article has previously been published in another
• Authorship should be limited to those who have made a significant contribution to the submission. Authorsshould 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 ofresearch participants and research
• 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 rightto reject any submission that does not meet the journal’s 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 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 fairand 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 asreviewers 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 non- academic 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
• 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 interests 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 non-financial interests that may have impacted presentation of their

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

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
• 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 theissue 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.

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Mechanical Requirements

• Trim size is 7″ x 10″.
• 133 line screen.
• Camera-ready copy.
• No color or bleeds.
• PDF files also accepted.

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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.

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!