The 'activist years' (6) were relatively short-lived, however, due in part to internal divisions in the editorial board. Hugely influential articles from Jean-Louis Comolli and Jean Narboni (1971), Christian Metz (1975) and Laura Mulvey (1975), to name some of the most recognisable, led this 'era of militant theory' (5) for which the journal is perhaps most famous. Pedagogy soon ceded ground to politics, and cinephilia to psychoanalysis, with the emergence of 1970s ' Screen Theory', embracing Marx and Althusser alongside its 'notorious love affair with psychoanalytic theory' reflecting a 'newly activist stage' (3) that would last throughout the decade. The journal's remaining rebirths came when Screen moved to the University of Glasgow in 1989, had its first annual conference in 1991, and when it went online in 2006. Screen Education continued to be published by SEFT until 1982, when it merged with Screen. The journal relaunched itself as Screen in 1969, broadening the journal's initial pedagogical focus to include film and television criticism and scholarship. While Screen's semicentennial in 2009 was a celebration of its 1959 incarnation as Screen Education: Journal of the Society for Education in Film and Television, the journal's first manifestation was in 1952, with the inauguration of The Film Teacher, a newsletter, distributed by the Society of Film Teachers, 'offering practical advice for aspiring teachers of film and television' (12). Written for Screen's fiftieth anniversary in 2009, Annette Kuhn's ' Screen and screen theorising today' gives a detailed account of the 'rather contradictory' ways in which Screen has repositioned itself over the years, something evidenced by the fact that the journal has no less than five potential 'birthdates'. ![]() In addition to his research, Finn also curates for the Africa in Motion Film Festival. His PhD research project focuses on the intersections between documentary studies and post- and de-colonial theory, and his work has been published in Studies in Documentary Film. Tracking change in Screen: the empirical routeįinn Daniels-Yeomans is an AHRC-funded PhD candidate at the University of Glasgow, and an intern at Screen. Table of contentsĮluding elegy: placing Screen in one possible history of television studies In this way they highlight the qualities that have ensured the journal's enduring significance. Collectively, they foreground Screen's distinctive capacity for adapting to changing intellectual fashions and to broader sociocultural and technological developments. Whether tracking a shift from pedagogy to politics, ' Screen Theory' to screen theorising, each article sketches a genealogy, tracing the many transformations in the journal since its inception in 1959 (or 1952?). For a limited time, this issue gives readers access to a number of essays that have featured in Screen over the years, each of which variously reflect – and reflect on – the journal's turbulent history, enduring significance and unique ability to reinvent itself: is Screen the only screen studies journal, for example, to have five potential (re)birthdates?Īnd further: How has the journal transformed over its six-decade lifespan? What are its objectives today? What are the journal's contributions to the development of screen studies? While differing in scope, focus and methodology, the four essays included in this collection have been chosen for the light they shed on these questions. ![]() To coincide with the journal's sixtieth anniversary, Oxford University Press and Screen are hosting what in effect represents a 'meta' virtual issue: Screen on Screen.
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