Submission Preparation ChecklistAs part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.
- The submission has not been previously published, nor is it before another journal for consideration (or an explanation has been provided in Comments to the Editor).
- The submission file is in OpenOffice, Microsoft Word, or RTF document file format.
- Where available, URLs for the references have been provided.
- The text is double-spaced (including notes and references) Times New Roman 12 point font and with left justified margins.
- The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines.
- The submission file has been anonymized for double-blind peer review.
Notes for Contributors
Aims and Scope of Studies in Spanish and Latin American Cinemas
Studies in Spanish & Latin American Cinemas is devoted to the study of Spanish-language and Latin American cinemas. Coverage includes the cinemas of Spain and Spanish-speaking South, Central and North America, including the Caribbean as well as Brazil. It features articles in both English and Spanish to maximize the opportunities for contact among cultural regions and academic disciplines such as media, film, Latin American, Hispanic, post-colonial and transnational studies. The journal encourages contributions with an intercultural and interdisciplinary focus.
Studies in Spanish & Latin American Cinemas was formerly published as Studies in Hispanic Cinemas, 2004â€“2013, (ISSN: 1478-0488,
Online ISSN: 2040-0608)
Articles submitted to Studies in Spanish and Latin American Cinemas should be original and not under consideration by any other publication. They should be written in a clear and concise style.
The journal follows standard British English. Use â€˜izeâ€™ endings instead of â€˜iseâ€™. The journal also publishes articles and book reviews in Spanish.
Studies in Spanish & Latin American Cinemas is a double blind refereed journal. Strict anonymity is accorded to both authors and referees.
The views expressed in Studies in Spanish & Latin American Cinemas are those of the authors, and do not necessarily coincide with those of the Editors or the Editorial or Advisory Boards.
Articles should be submitted electronically through the Intellect submission portal: https://callisto.newgen.co/intellect/index.php/SLAC/login. Contributors will have to create a profile on the site in order to do so. Books for review should be sent to the appropriate Reviews Editor according to the region of publication (US, Latin America, Europe and other territories). Unsolicited reviews are not accepted.
Length of Articles
Articles must not normally exceed 8000 (excluding notes), but longer pieces of up to 10,000 words may be considered.
Contributors must check that each of the following have been supplied correctly:
- Article Title
- Author Name
- Author addresses â€“ the submitted material should include details of the full postal and e-mail addresses of the contributor(s) for correspondence purposes
- Author biography â€“ authors should include a short biography in the third person of around 150 words, specifying the institution with which they are affiliated.
- Abstract of 150-200 words; this will be published on the Intellect website.
- Keywords: six words, or two-word phrases. The keywords allow for efficient searches to the authorâ€™s work.
- References â€“ Intellect requires the use of Harvard references embedded in the main text in the following format (Harper 1999: 27).
- Bibliography â€“ titled â€˜Referencesâ€™.
- All articles should be submitted as Microsoft Word documents.
- The font should be Times New Roman, 12 point, double-spaced (including endnotes and references), with unjustified margins.
- The title should be in bold at the beginning of the file, but not enclosed in quotation marks.
- Bold is also used for headings and subheadings (in Times New Roman, 12 point).
- Italics may be used (sparingly) to indicate key concepts.
- The first mention of a film is in the title, abstract and article should include its original title, the translated/foreign release title, the directorâ€™s surname (not first name) and the year of release: Memorias del subdesarrollo/Memories of Underdevelopment (GutiÃ©rrez Alea, 1968). Subsequent mentions of the film should use the original title, Memorias del subdesarrollo.
- Words in foreign languages should be translated the first time they appear: el paquete semanal (the weekly package). Subsequently, the original may be used.
Quotations must be in English (for English language articles). For reasons of space, we cannot publish the original language text. If necessary, indicate in an endnote when the translations are the authorâ€™s: â€œAll translations, unless otherwise specified, are mine.â€
- Quotations must be within single inverted commas. Material quoted within cited text should be in double inverted commas.
- All long quotations (i.e. over 40 words long or 4 lines of text) should be separated from the body of the text and indented, without quote marks at the beginning or end. Note that for quotations within the text, the punctuation should follow the bracketed reference. For an indented quotation, the bracketed reference appears after the full stop.
- All omissions in a quotation are indicated thus: [...] Note that there are no spaces between the suspension points.
- When italics are used for emphasis within quotations, please ensure that you indicate whether the emphasis is from the original text or whether you are adding it to make a point: (Smith 2000: 100, emphasis mine).
- Do not break up quotations with an insertion, for example, â€˜This approach to mise-en-scÃ¨neâ€™, says MacPherson, â€˜is not sufficiently elaboratedâ€™ (McPhearson 1998:33).
In general, we discourage the use of extensive notes â€“ if something is worth saying, it is worth saying it in the text itself. A long note will divert the readerâ€™s attention away from the authorâ€™s argument and will look awkward on the printed page. If a note is necessary, use Wordâ€™s note-making facility, and ensure that these are endnotes, not footnotes. Place note calls outside the punctuation, after the comma, full stop, colon etc. The note call must be in superscripted Arabic (1, 2, 3). Keep the notes as brief as possible and never more than 100 words. All notes should be Times Roman 12 point, double spaced and with unjustified margins.
All references in the text should be according to the Harvard system, e.g. (Bordwell 1989: 9). Please do not use Ibid. The default term used for this list is â€˜Referencesâ€™. Do not group films together under a separate â€˜Films citedâ€™ heading. Instead, incorporate all films into the main body of references and list them alphabetically by director. The same rule applies to /music/new media: identify the director/composer and list alphabetically alongside books, journals and papers. Television programmes should be alphabetised by title (see example below).
Please note in particular:
- â€˜Anon.â€™ for items for which you do not have an author (because all items must be referenced with an author within the text).
- Only first name initial of author, followed by a period.
- Note that it is (ed.) but (eds) without a full point at the end.
- A blank line is entered between references.
- Year date of publication in round brackets.
- Commas, not full stops, between parts of each reference.
- Absence of â€˜inâ€™ after the title of a chapter if the reference relates to an article in a journal or newspaper.
- Name of translator of a book within brackets after title and preceded by â€˜trans.â€™, not â€˜transl.â€™ or â€˜translated byâ€™.
- Absence of â€˜no.â€™ for the journal number, a colon between journal volume and number.
- â€˜pp.â€™ before page extents.
The following samples indicate conventions for the most common types of references:
Anon. (1931), â€˜Stalin I kinoâ€™, Pravda, 28 January, pp. 7.
Bashforth, K. (2016), â€˜The rules for socialising with work colleaguesâ€™, Harperâ€™s Bazaar, July, http://www.harpersbazaar.co.uk/people-parties/bazaar-at-work/news/a37383/how-to-socialise-effectively-at-work/. Accessed 15 July 2016.
â€˜Blood of My Bloodâ€™ (2016), Jack Bender (dir.), Game of Thrones, Season 6 Episode 6 (29 May, USA: HBO).
Bowie, D. (2016), â€˜Blackstarâ€™, Blackstar, Sleeve notes, New York: Colombia Records.
Brown, J. (2005), â€˜Evaluating surveys of transparent governanceâ€™, 6th Global Forum on Reinventing Government: Towards Participatory and Transparent Governance, Seoul, Republic of Korea, 24â€“27 May.
Derrida, J. (2002), â€˜The university without conditionâ€™, in P. Kamuf (ed.), Without Alibi, Stanford: Stanford University Press, pp. 202â€“37.
Gibson, R., Nixon, P. and Ward, S. (eds) (2003), Political Parties and the Internet: Net Gain?, London: Routledge.
Lambright, A. (2015a), â€˜Transitional justice and reconciliation through identification: â€œPaloma de papelâ€ and â€œLa teta asustadaâ€â€™, in Andean Truths: Transitional Justice, Ethnicity, and Cultural Production in Post-Shining Path Peru, Liverpool: Liverpool University Press, pp. 60â€“87.
____ (2015b), â€˜Introductionâ€™, in Andean Truths: Transitional Justice, Ethnicity, and Cultural Production in Post-Shining Path Peru, Liverpool: Liverpool University Press, pp. 1â€“29.
Llosa, C. (2009), La teta asustada, Peru: Olive Films.
Richmond, J. (2005), â€˜Customer expectations in the world of electronic banking: a case study of the Bank of Britainâ€™, Ph.D. thesis, Chelmsford: Anglia Ruskin University.
Roussel, R. ( 1996), Locus Solus, Paris: Gallimard.
StroÃ¶ter-Bender, J. (1995), Lâ€™Art contemporain dans les pays du â€˜Tiers Mondeâ€™ (trans. O. Barlet), Paris: Lâ€™Harmattan.
UNDESA (United Nations Department of Economic and Social Affairs) (2005), Report on Reinventing Government, United Nations: New York.
Vidal, R. (2011), â€˜Racionalidad burocrÃ¡tica y dominaciÃ³n carismÃ¡tica: el cine mexicano como estrategia del estado nacional en MÃ©xicoâ€™, Revista del Centro de InvestigaciÃ³n de la Universidad La Salle, 9:35, pp. 45â€“65.
Woolley, E. and Muncey, T. (forthcoming), â€˜Demons or diamonds: a study to ascertain the range of attitudes present in health professionals to children with conduct disorderâ€™, Journal of Adolescent Psychiatric Nursing.
Unless an informal conversation, interviews can be cited in text and included in the references. In the references, the name of interviewer/interviewee, type of communication, location, day and month should be included [if available].
BjÃ¶rgvinsson, E. and HÃ¸g Hansen, A. (2009), telephone interview, 23 January.
Branson, Richard and Doe, John (2014), in person interview, Birmingham City University, 4 July.
Website references are similar to other references.
There is no need to decipher any place of publication or a specific publisher, but the reference must have an author, and the author must be referenced Harvard-style within the text. Unlike paper references, however, web pages can change, so there needs to be a date of access as well as the full web reference. Website or blog titles should be in roman font. In the list of references at the end of your article, the item should be like this:
Tinoco, A. (2016), â€˜El hotel de los secretos Telenovela Synopsisâ€™, 15 January, http://www.latintimes.com/el-hotel-de-los-secretos-telenovela-synopsis-diana-bracho-daniela-romo-star-new-364695. Accessed 14 September 2016.
We welcome images to illustrate articles. All images need a resolution of at least 300 dpi. All images should be submitted independently of the article, not embedded in the word document. The files should be clearly labelled (Figure 1, Figure 2, etc.) and an indication given as to where they should be placed in the text (<INSERT FIGURE 1 HERE>).
Reproduction will normally be in colour (or greyscale, if original) in the digital version of the journal. For the print version only a small number of images will be reproduced in colour. Images (or a link to where images can be downloaded) should be sent electronically to the journal editor at email@example.com.
Every image should be accompanied by a suitable caption (the omission of a caption is only acceptable if you feel that the impact of the image would be reduced by the provision of written context). The following is the general agreed style for captions:
Figure 1: [Descriptive Content]. Director, Title of Film/Translation of Title if necessary, Year. Country. Copyright holder information [use of Courtesy of or Â© should be consistent].
Please note the colon after the figure number and the final full point, even if the caption is not a full sentence. Copyright clearance should be indicated by the contributor and is always the responsibility of the contributor. Frame grabs do not require copyright clearance; therefore, that information is not required.
If the article has multiple frame grabs from the same film/media work, the first caption should include the required information and subsequent captions can just cite the (original) title of the film.
The captions should be gathered in a separate Word document, clearly labelled as such.
Note that the book review editors solicit reviews directly. The journal does not accept unsolicited reviews.
The title of the book under review should be in bold at the top, followed (in roman) by Author (Year), City: Publisher, pp. # of pages, ISBN: XXXX, h/bk. $price; p/bk. $price; eBook, $price [note no full stop at the end]. In the case of foreign books, indicate the price (if it is available) in the currency in which the book is sold, using international currency standards -- MXN (Mexican Pesos), BRL (Brazilian Real), EUR (Euros) â€“ or currency symbols -- â‚¬ for Euros, Â£ for Pounds, R$ for Brazilian Real, $ for Pesos and any other currency identified as â€˜dollarâ€ (Canadian, US, etc.).
Below the titular information, in italics, place the reviewerâ€™s name and academic affiliation. The reviewers email contact should be included at the end of the review: E-mail: xxx@xxx.
Reviews are typically in the 700-2500 word range.
For books in Spanish and/or Portuguese (or any other foreign language), it is not necessary to indicate that all quotes in the review have been translated by the reviewer.
Copyright clearance should be indicated by the contributor and is always the responsibility of the contributor. Unless a specific agreement has been made, accepted articles become the copyright of the journal. The author retains copyright of their contribution and grants Intellect an exclusive right to publish. Intellect retains copyright of the printed/typeset/PDF version of the article. The copyright clearance form should be completed and sent to the Editor with every final submission.
Any matters concerning the format and presentation of articles not covered by the above notes should be addressed to the Editor. The guidance on this page is by no means comprehensive: it should be read in conjunction with Intellect Style Guide. Nevertheless, Studies in Spanish and Latin American Cinemas, as a bilingual film/media journal, has specific practices as noted in the notes above, which differ from the general Intellect Guide. The Intellect Style Guide is available at
http://www.intellectbooks.com/journals, or on request from the Editor of this journal.
The names and email addresses entered in this journal site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.