Projections: The Journal for Movies and Mind is an interdisciplinary, peer-reviewed journal that explores how the mind experiences, understands, and interprets the audiovisual and narrative structures of cinema and other visual media. Recognizing cinema as an art form, the journal aims to integrate established traditions of analyzing media aesthetics with current research into perception, cognition, and emotion, according to frameworks supplied by philosophy of mind, phenomenology, psychology, and the cognitive-and neurosciences. The journal seeks to facilitate a dialogue between scholars in these disciplines and bring the study of moving image media to the forefront of contemporary intellectual debate.
Submissions are welcomed from a variety of scholarly methods within the humanities and the sciences, from aesthetic to empirical, theoretical, and historical approaches. We especially welcome interdisciplinary approaches that bridge the traditional humanities/sciences division. Accordingly, we invite and consider several forms of submission. Please read the submission guidelines carefully to ensure that your submission aligns with the particular requirements for each format.
Projections is indexed/abstracted in:
Art Abstracts (Ebsco)
Art Index (Ebsco)
Bibliometric Research Indicator List (BFI)
British Humanities Index (Proquest)
Emerging Sources Citation Index (Web of Science)
European Reference Index for the Humanities and the Social Sciences (ERIH PLUS)
FIAF International Index to Film Periodicals (Proquest)
IBR – International Bibliography of Book Reviews of Scholarly Literature on the Humanities and Social Sciences (De Gruyter)
IBZ – International Bibliography of Periodical Literature (De Gruyter)
MLA Directory of Periodicals
MLA International Bibliography
Norwegian Register for Scientific Journals, Series and Publishers
Editor: Ted Nannicelli, Film and Television Studies, University of Queensland, Australia
Tim Smith, Cognitive Psychology, Birkbeck College, University of London, UK
Aaron Taylor, New Media, University of Lethbridge, Canada Katalin Bálint (acting), Communication Science, VU Amsterdam, Netherlands
Fredrick Luis Aldama, English, The Ohio State University, USA
Richard Allen, Creative Media, City University of Hong Kong
Andreas Bartels, Max Planck Institute for Biological Cybernetics, Germany
Anne Bartsch, Communications and Media Studies, University of Leipzig, Germany
Todd Berliner, Film Studies, University of North Carolina at Wilmington, USA
David Bordwell, Communication Arts (Emeritus), University of Wisconsin–Madison, USA
Noel Carroll, Philosophy, The Graduate Center, City University of New York, USA
Yadin Dudai, Neurobiology, Weizmann Institute of Science, Israel
Cynthia Freeland, Philosophy, University of Houston, USA
Torben Grodal, Film and Media Studies (Emeritus), University of Copenhagen, Denmark
Tom Gunning, Cinema and Media Studies, University of Chicago, USA
Uri Hasson, Psychology, Princeton University, USA
Patrick Colm Hogan, English, University of Connecticut, USA
Daniel Levin, Psychology and Human Development, Vanderbilt University, USA
Paisley Livingston, Philosophy (Emeritus), Lingnan University, Hong Kong
Carl Plantinga, Communication Arts and Sciences, Calvin College, USA
Stephen Prince, Theatre and Cinema, Virginia Tech, USA
Nick Redfern, Media, Film, and Culture, Leeds Trinity University, UK
Arthur Shimamura, Psychology (Emeritus), University of California, Berkeley, USA
Robert Sinnerbrink, Philosophy, Macquarie University, Australia
Greg Smith, Communication, Georgia State University, USA
Murray Smith, Film Studies, University of Kent, UK
Vivian Sobchack, Film, Television, and Digital Media (Emerita), University of California, Los Angeles, USA
Jane Stadler, Film and Television Studies (Honorary), University of Queensland, Australia
Katherine Thomson-Jones,Philosophy, Oberlin College, USA
Malcolm Turvey, Film and Media Studies, Tufts University, USA
Margrethe Bruun Vaage, Film Studies, University of Kent, UK
Jeffrey Zacks, Psychological and Brain Sciences, Washington University in St. Louis, USA
Lisa Zunshine, English, University of Kentucky, USA
Founding Editor: Ira Konigsberg, Film (Emeritus), University of Michigan, USA
The editorial board welcomes contributions. Authors should submit articles as attachments by e-mail, formatted as Microsoft Word or Rich Text Format (RTF) files. Electronic submissions are preferred, but mailed contributions will be reviewed. Please note that all correspondence will be transmitted via e-mail. Submissions without complete and properly formatted reference lists may be rejected. Manuscripts accepted for publication that do not conform to the Projections style will be returned to the author for amendment.
Have other questions? Please refer to the Berghahn Info for Authors page for general information and guidelines including topics such as article usage and permissions for Berghahn journal article authors.
Authors published in Projections certify that their works are original and their own. The editors certify that all materials, with the possible exception of editorial introductions, book reviews, and some types of commentary, have been subjected to double-blind peer review by qualified scholars in the field. While the publishers and the editorial board make every effort to see that no inaccurate or misleading data, opinions or statements appear in this journal, they wish to make clear that the data and opinions appearing in the articles herein are the sole responsibility of the contributor concerned. For a more detailed explanation concerning these qualifications and responsibilities, please see the complete Projections ethics statement.
The Society for Cognitive Studies of the Moving Image (SCSMI)
Leading the study of how moving-image media shape and are shaped by human psychological activity
The Society for Cognitive Studies of the Moving Image (SCSMI) is an interdisciplinary organization of scholars interested in cognitive, philosophical, aesthetic, neurophysiological, and evolutionary-psychological approaches to the analysis of film and other moving-image media.
Membership in SCSMI, including a print subscription and online access to Projections, is now directly handled by the association. Please visit the SCSMI website to join as a new member, to renew your membership, or to register for SCSMI annual meetings.
SCSMI members:For online access to Projections, please visit the SCSMI website and log in.
Members of SCSMI seek to understand, among other things, the ways these media arouse our senses, stir our emotions, and prod us to thought. They explore how conceptions of social organization and human nature find their way into films, television, video games, and online videos. Their research seeks to explain the power of movies over audiences, what popular films tell us about the ways our minds work, and how documentaries and avant-garde films engage us. How may media products bear the traces of social intelligence and evolved capacities? What philosophical issues are at stake in examining media from a psychological perspective? These are just some of the questions SCSMI members pursue in their own research, at SCSMI conferences, and in the pages of Projections. The gatherings are lively; the research articles are deeply informed and consistently provocative.
We invite all people interested in understanding media from a broadly cognitive perspective to join us in exploring the range and depth of the moving image.