Black Camera

Black Camera, a journal of Black film studies, is devoted to the study and documentation of the Black cinematic experience and aims to engender and sustain a formal academic discussion of Black film production. It includes reviews of historical as well as contemporary books and films, researched critiques of recent scholarship on Black film, interviews with accomplished film professionals, and editorials on the development of Black creative culture. Black Camera challenges received and established views and assumptions about the traditions and practices of filmmaking in the African diaspora, where new and longstanding cinematic formations are in play. The journal devotes issues or sections of issues to national cinemas, as well as independent, marginal, or oppositional films and cinematic formations.

Journal Details

  • Frequency: semiannually
  • ISSN: 1536-3155
  • eISSN: 1947-4237
  • Keywords: Film, African Studies, African Diaspora
  • First Issue: Volume 1, number 1 (1985)

Additional Information

Editorial Details

Editorial Office Contact Information
Black Camera
Black Film Center/Archive
Indiana University
Wells Library / Room 044
1320 East Tenth Street
Bloomington, IN 47405
Email: blackcam@indiana.edu

Editor-in-Chief
  • Michael T. Martin
Assistant Editor
  • Rachelle Pavelko
Film and Book Review Editor
  • David C. Wall
Advisory Editorial Board
  • Roy Armes, Middlesex University, United Kingdom (Emeritus)
  • Erna Beumers, Conservator Afrika, Netherlands
  • Eileen Julien, Indiana University, United States
  • Gaston Kabore, IMAGINE--Film Training Institute, Burkina Faso
  • Delphine Letort, Universite of Le Mans, France
  • Bruce Paddington, University of the West Indies at St. Augustine, Trinidad and Tobago
  • Lucia Saks, University of Cape Town, South Africa
  • Gregory Waller, Indiana University, United States
  • Lamont Yeakey, California State University, Los Angeles, United States

The Editor and Black Film Center/Archive gratefully acknowledge the generous support for the publication of this journal by The College of Arts and Sciences, Indiana University, Bloomington.

Submission Info

Black Camera is devoted to the study of the black cinematic experience and is the only scholarly film journal of its kind in the United States. It features essays and interviews that engage film in social as well as political contexts and in relation to historical and economic forces that bear on the reception, distribution, and production of film in local, regional, national, and transnational settings and environments.

In addition, Black Camera includes research and archival notes, editorials, reports, interviews with emerging and prominent filmmakers, and book and film reviews and addresses a wide range of genres—including documentary, experimental film and video, diasporic cinema, animation, musicals, comedy, etc. While its scope is interdisciplinary and inclusive of all of the African diaspora, the journal devotes issues or sections of issues to national cinemas, as well as independent, marginal, or oppositional films and cinematic formations.

To download more information about contributors' guidelines, click here.

To learn more about submission guidelines, click here.

Call for Papers

Abstract & Index

  • British Humanities Index (BHI)
  • International Index to Film Periodicals

Publication Ethics

Publication Ethics and Malpractice Statement

The Editors and Advisory Editorial Board

  • Black Camera privileges neglected and/or understudied sites of black filmmaking and features essays that engage film in social as well as political contexts and in relation to historical and globalizing processes.
  • The journal also includes interviews with emerging and prominent filmmakers, editorials, book and film reviews, documents, archival notes, and research reports, and addresses a wide range of genres — including documentary, experimental film and video, animation, musicals, and comedy.
  • Black Camera constitutes a forum to debate and challenge received and ensconced views and assumptions about filmmaking in the African diaspora, where new, evolving, and long-standing cinematic formations and traditions are in play.
  • We ensure that research material published conforms to internationally accepted ethical guidelines and aim to maintain the integrity of the academic record. Authors are requested to sign an Indiana University Press/Black Camera Consent to Publish Agreement, and when accompanied by images, a Permissions Agreement Illustration and Artwork must be submitted as well. An article will not be published without these documents.
  • We strive to meet the needs of our readers and authors: scholars/researchers, media professionals and cineastes, and the public interested generally in cultural production and visual forms of representation.
  • Complaints and concerns are immediately addressed by investigating the validity of the complaint and taking appropriate steps.
  • When it is recognized that a significant inaccuracy, misleading statement, or distorted report has been published, we will print a correction in the subsequent issue of Black Camera with due prominence.
  • Black Camera is published twice a year, once in the fall and again in the spring, by Indiana University Press Office of Scholarly Publishing.

The Authors

  • Guidelines for submissions appear in each issue of the printed journal and also on our website. We convey to all authors a clear set of expectations when publishing with Black Camera, including submission, formatting, and production standards.
  • Authorship should be limited to those who have made a significant contribution to the conception, design, execution, or interpretation of the study submitted to Black Camera. Others who have made significant contributions to the work must be listed as co-authors.
  • Authors should acknowledge all sources of data used in the research and cite publications that have been influential in the research work. An endnote citation format is required for all scholarly essays.
  • Authors should adhere to the best practice guidelines set forth by the Society for Cinema and Media Studies (SCMS) regarding the fair use of copyrighted materials.
  • Authors are requested to state whether the article has been submitted to or is under review with another publication at the time of the Black Camera submission.
  • Upon receipt of our reviewers' comments, suggestions, and requests for changes necessary for publication, authors are asked to address all comments and suggestions by the reviewers in the revised and resubmitted article.

The Peer Reviewers

  • Decisions to accept or reject an article for publication are based only on the work's importance, originality, and clarity, as well as the article’s relevance to the study and documentation of the black cinematic experience.
  • Reviewers receive guidelines from Black Camera on what is expected of them. All peer reviewers' identities are blind and protected.
  • Reviewers are not approached when the editors and/or advisory editorial board detect a conflict of interest.
  • In the event that a reviewer feels it is not possible for him/her to complete a thorough review of the manuscript within the stipulated time period, this information must be communicated to the editor so that the manuscript can be sent to another Black Camera reviewer.
  • Information regarding manuscripts submitted to Black Camera by authors should be kept confidential and be treated as privileged information by reviewers.