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Author Guidelines

Author Guidelines

The International Journal of Screendance follows the Chicago Manual of Style, 16th Edition. For citation formats not included in this guide, please consult the Chicago Manual of Style.

1. Format and Style

  • File Format: OpenOffice, Microsoft Word, or RTF format.
  • Font Format: Single-spaced, in 12-point font
  • Document Layout: Do not layout your article. Avoid automatic formatting in Microsoft Word
  • Images: Please send images separately. Do not insert images into your document. At the point(s) in your document you would like to have an image write: <Image #: caption, filename, credit name>. e.g. Image 1: Jac Smith performing in My Best Film, testimage1.jpg, Credit: Eulanda Northcott.
  • Image Dimensions: 150dpi, 1000px along the shortest edge, jpg format, and attached to an email to the editors
  • Spelling: Use Standard English with American spelling. We recommend performing an American English spell check: in Microsoft Word, go to Tools>Language>English(US)
  • Punctuation:Use Standard English with American punctuation:
    • Quotation marks go “outside periods and commas.”
    • Endnote numbers go after periods, commas, closing parenthesis, ellipses, or other punctuation, but come before colons and semi-colons
    • Use only one space after periods
    • Use a comma before the “and” or the “or” that concludes a list of words (e.g. “apples, oranges, and bananas”)
  • Page Numbers: Please include page numbers
  • Peer Review: In order to ensure a blind review, do not include your name on your manuscript or in your file properties. Delete your name(s) from the text, with “Author” and year used in the references and footnotes, instead of the author’s name, article title, etc. To remove identifying information from the file in Microsoft Word, go to File>Properties
  • Single Document: Submit the article, notes, references, and captions in a single document

2. Quotations

  • Short Quotes: For quotations of less than 40 words use “double quotation marks” for a first quote, and ‘single quotation marks’ for a quote embedded in another. Quotation marks go outside of punctuation, i.e. after the period or comma
  • Long Quotes: Quotations longer than 40 words should be set off from the text as a block quote, and without quotation marks at the beginning or end
  • Omitted Text: To indicate that text has been omitted from a quotation, use an ellipses in its place…
  • Changes/Additions to Text: To indicate a change or addition to quoted text, for example altering tense or noun/verb agreement in the context of your prose, mark the change with brackets
  • Emphasis: If text appears in italics or underlined in the original, follow the quote with the notation “(orig. emphasis).” If you add italics to the quoted text, note “(my emphasis)."
  • Translation: If you translate quoted material from a non-English original, follow the quote with the notation “(my trans.).” Alternatively, if there are many translations throughout the essay, in the first endnote for a translated quotation, provide the comment “All translations mine” or some other statement indicating who has translated the material into English for the purposes of your essay.

3. Endnotes (for in-text citations)

  • Endnotes: Use endnotes to provide abbreviated citations for all material quoted or paraphrased in the article, including mixed media sources such as films and webpages. Full citations will appear in the references list at the end of the article, so be as concise as possible in endnotes
  • Avoid Automated Formatting: Please avoid MS Word’s automated footnote/endnote feature. See example below for how to name/markup endnotes
  • Basic contents: Provide the author’s last name, an abbreviated version of the title, and the page number (if relevant). Use commas between elements
  • Ibid.: If two or more notes in a row refer to the same text, write “Ibid.” and include only additional information that differs from the preceding note (e.g. the page number)
  • Discursive notes: Notes may also be used to convey additional points. Use such notes sparingly. If a single note contains both citation and commentary, the citation is listed first. If a note contains a quotation, a concise citation immediately follows the quoted text.

Endnote and Reference Example

Sample Text (From Robin Lakes, “The Messages behind the Methods: The Authoritarian Pedagogical Legacy in Western Concert Dance Technique Training and Rehearsals," Arts Education Policy Review, 106.5 (May/Jun 2005) 8):

The teacher becomes “convinced of the rightness of his solutions“ [^53] and claims to have sole insight, characteristics which find support in studies of gurus. In addition, “if a leader is accepted as having charismatic authority, he is often accorded the right to direct every aspect of his followers’ lives.”[^54] Graham’s instructions to her dance group concerning their behavior at their 1935 Bennington residency included, “You are not to mingle with members of any other dance group. You are to keep to yourselves and not speak to anyone”[^55] (orig. emphasis).

Sample Notes A:

[^53]: Storr, 183.
[^54]: Ibid., xv.
[^55]: Bird and Greenberg, 103.aa

Sample References A:

Bird, Dorothy, and Joyce Greenberg. Bird’s Eye View: Dancing with Martha Graham and On Broadway. Pittsburgh: Univ. of Pittsburgh Press, 1997.

Storr, Anthony. Feet of Clay: Saints, Sinners and Madmen: A Study of Gurus. New York: Free Press, 1996.

4. References: Print and Mixed Media

  • Reference list: Full citations for all sources should be provided in a list of references at the end of the document. There should be only one list of references. Do not include a separate filmography
  • Ordering: List sources in alphabetical order. For more than one work by a single author, order works by date, oldest to newest
  • Author names: In references, invert only the first author’s name (last name, first name). First names of all authors or creators should be provided if available. List all authors’ and/or primary creators’ names in the references. Corporate names as authors are written out in full.
  • Publication place: If more than one place is given, the first city is sufficient. Do not abbreviate place names. Give the city and state or country if the city is not well known for publishing or is ambiguous.
  • Titles and subtitles: Capitalize the first letter of all significant words in titles and subtitles of works, and parts of works such as articles or chapters
  • Abbreviations in References:Be consistent.
    • “ed.” for “editor: or “edited by”
    • “trans.” for “translator or “translated by”
    • “chor” for “choreographer”
    • “perf.” for performer
    • “dir.” for “director”
    • “univ.” for university
  • Images: A full citation will accompany the image as a caption and does not need to be duplicated in the reference list.

 Reference Examples:

Book:

Last name, First name. Title: Subtitle. Trans./Ed. First initial. Last name. Place: Publisher, Year: Page#-Page#.

Barthes, Roland. Camera Lucida. Trans. Richard Howard. New York: Hill and Wang 1981.

Deleuze, Gilles. Spinoza: Practical Philosophy. San Francisco: City Lights Books, 1988.

Multiple texts with the same author:

Massumi, Brian. A User’s Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari. Cambridge, MA: MIT Press, 1992.

___. “Sensing the Virtual, Building the Insensible.” Architectural Design: Hypersurface Architecture 68.5/6 (1998): 22–23.

Book chapter:

Last name, First name. “Chapter title.” Book title. Trans./Ed. First initial. Last name. Place: Publisher, Year. Page#-Page#.

Heidegger, Martin. “The Question Concerning Technology.” The Question Concerning Technology and Other Essays. Trans. W. Lovitt. New York: Harper Torchbooks, 1977. 3–35.

Lepecki, André. “Inscribing Dance.” Of the Presence of the Body: Essays on Dance and Performance Theory. Ed. André Lepecki. Middletown: Wesleyan Univ. Press, 2004. 124–39.

Journal Article:

Last name, First name. “Article title.” Journal title Vol.#Issue# (Month Day Year): Page#-Page#.

Tsivian, Yuri. “What is Cinema? An Agnostic Answer.” Critical Inquiry 34.4 (Summer 2008): 754–76.

Wollen, Peter. “Two Mayakovsky Scenarios with an Introduction.” Screen 12.4 (1971):122–51.

DVD, Film, Television, Installation:

If a title begins with “The,” use the first letter of the next word for the purposes of listing alphabetically.

At Land (1944). Dir. Maya Deren. Paris: Re:Voir, 2008. DVD.

"Blue Studio: Five Segments.” Merce by Merce by Paik. Dir. and chor. Merce Cunningham and Charles Atlas. Videodance, 1975–76, 1978. Videocasette.

Chute. Narr. Steve Paxton. Videoda, 1972. Film.

Waterfall. Dir. and chor. Richard Lord. Perf. Emma Diamond. Prod. Big Room Ventures. 2002. CD-ROM.

5. References: Electronic Resources

  • Consistency: When possible follow the same rules that apply to equivalent parts of print resources.
  • Web Address (i.e. URL): Please provide URLs for Web-based materials unless they are part of a familiar online collection such as YouTube, VeVo, Vimeo, Hulu, UbuWeb, The New York Times. In such instances, the name of the parent website is sufficient
  • Access date: If available, provide a “last modified” date. Omit the date accessed unless it is known that the content is frequently updated or if you cannot provide a last modified date. If the resource is a blog or other dated entry, provide the date the material was posted
  • Pagination: When citing an online publication with an equivalent print version, try to obtain and provide the page numbers used in the print version. In documents without page numbers, add a descriptive locator such as a section heading to allow your reader to find the resource
  • Authors of web pages: If not readily apparent, try to find and provide the name(s) or authors or corporate authors responsible for the content.
  • Digital Object Identifiers: To comply with the terms of the publisher's CrossRef membership, Digital Object Identifiers (DOIs) must be included with references when they are available. To check for DOIs, you can use the Free DOI Lookup form on the CrossRef website. Please verify the DOI and add it to the reference in the form of a full URL, i.e. https://doi.org/10.xxxxx/xxxx-xxx.

Electronic Resource Examples:

Web pages:

Downie, Marc, Shelley Eshkar and Paul Kaiser. OpenEndedGroup. Accessed 27 Aug. 2011. http://openendedgroup.com

Edmunds, Becky. 8cold – vision/perception/production. Becky Edmunds. Posted Mar. 2009. http://beckyedmunds.com/#/sweden-2/4533328498

Ellis, Simon. “Spruiking Look and Look Again.” European Spring/Antipodean Autumn. On Dance, Art & Things. Posted 18 April 2011. http://simonkellis.wordpress.com/2011/04/18/news-6-european-spring-antipodean-autumn/

Rosenberg, Douglas. “Video Space: a Site for Choreography.” Essays by Douglas Rosenberg. DVPG. Accessed 4 Feb. 2010. http://www.dvpg.net/essays.html

“Separation.” Centre for Screendance. Posted 10 July 2012. https://screendance.wordpress.com/2012/07/10/separation/

Video from the Web:

“BKLYN.” Chor. Dawn Stoppiello. Ed. Mark Coniglio. Dir. Ruth Sergel. Perf. Hillary Nanney. 2007. YouTube.

“Horizon of Exile.” Dir., chor., and ed. Isabel Rocamora. Isabel Rocamora. 2007. http://www.isabelrocamora.org/home/FilmTv/Horizon-of-exile/HorizonTrailer/ TrailerLarge.html.

Line Dance. Dir. Alex Reuben. Chor. Afua Awuku and Alex Reuben. Prod. Margaret Williams; Caroline Freeman, MJW Productions 2003. MySpace.

“Miss You Much” (1990). Perf. Janet Jackson. VeVo.

6. Author Agreement

The author hereby grants to The Ohio State University, on behalf of its University Libraries’ Knowledge Bank, 175 W. 18th Avenue, Columbus, OH 43210 (hereinafter “Publisher”) the non-exclusive right to reproduce, translate, display, and/or distribute the Submission (including the abstract) as part of the International Journal of Screendance (“Journal”), in print and electronic format and in any medium. You also agree that the Publisher may make and retain more than one copy for the purpose of preservation, security, and backup. You represent that you, as sole author and/or on behalf of your co-authors, have the authority to grant the rights contained in this agreement. You also represent that your Submission does not, to the best of your knowledge, infringe upon anyone’s copyright. If the Submission contains material for which you do not hold copyright, you represent that you have obtained the unrestricted permission of the copyright owner to grant the Publisher the rights in this agreement, and that such third party owned material is clearly identified and acknowledged within the text or content of the Submission. Alternatively, you represent that your use of third party material is allowed because the material is in the public domain or you have performed a fair use analysis and reasonably believe your use is permitted.

The author understands that the Publisher may grant these same rights to Journal. Additionally, the author also grants the right to both Journal and Publisher to enter into agreements with third party entities that grant such third party entities any or all of the rights that author has granted to Publisher herein. The aforementioned rights may include the rights necessary to index and abstract the Submission.

The author agrees that any subsequent publication of the Submission will credit the Journal as the site of first publication and provide a link to the Journal website.

Before submission: Please ensure that you have followed all of the stylistic and bibliographic requirements outlined in the Author Guidelines. If submitting to a peer-reviewed section of the journal, take note of the instructions for Blind Review. Submissions that do not adhere to these guidelines may be returned to authors.

Original Contribution: The submission may not have been previously published, nor under consideration for another journal. If such a conflict exists, an explanation must be provided in Comments to the Editor.

Copyright Notice: Authors retain the copyright in their own work, but are required at the time of submission to agree to a nonexclusive license giving the publisher (The Ohio State University Libraries) the rights necessary to distribute the work online and preserve it, should it be accepted for publication.

Privacy Statement: 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.

 

Submission Preparation Checklist

As 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.

  1. 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).
  2. The submission file is in OpenOffice, Microsoft Word, or RTF document file format.
  3. Where available, URLs for the references have been provided.
  4. To comply with the terms of the publisher's CrossRef membership, Digital Object Identifiers (DOIs) must be included with references when they are available. To check for DOIs, you can use the Free DOI Lookup form on the CrossRef website. By checking the box, you assert that you have included DOIs where applicable.
  5. The text is single-spaced; uses a 12-point font; employs italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables are placed within the text at the appropriate points, rather than at the end.
  6. The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines, which is found in About the Journal.
  7. If submitting to a peer-reviewed section of the journal, the instructions in Ensuring a Blind Review have been followed.
 

Copyright Notice

By checking this box, the author hereby grants to The Ohio State University, on behalf of its University Libraries’ Knowledge Bank, 175 W. 18th Avenue, Columbus, OH 43210 (hereinafter "Publisher") the non-exclusive right to reproduce, translate, display, and/or distribute the Submission (including the abstract) as part of the International Journal of Screendance (“Journal”), in print and electronic format and in any medium. You also agree that the Publisher may make and retain more than one copy for the purpose of preservation, security, and backup. You represent that you, as sole author and/or on behalf of your co-authors, have the authority to grant the rights contained in this agreement. You also represent that your Submission does not, to the best of your knowledge, infringe upon anyone’s copyright. If the Submission contains material for which you do not hold copyright, you represent that you have obtained the unrestricted permission of the copyright owner to grant the Publisher the rights in this agreement, and that such third party owned material is clearly identified and acknowledged within the text or content of the Submission. Alternatively, you represent that your use of third party material is allowed because the material is in the public domain or you have performed a fair use analysis and reasonably believe your use is permitted. 

The author understands that the Publisher may grant these same rights to Journal. Additionally, the author also grants the right to both Journal and Publisher to enter into agreements with third party entities that grant such third party entities any or all of the rights that author has granted to Publisher herein. The aforementioned rights may include the rights necessary to index and abstract the Submission. 

The author agrees that any subsequent publication of the Submission will credit the Journal as the site of first publication and provide a link to the Journal website.

 

Privacy Statement

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.