Deadline:
Submissions for Volume 20 are due Friday, April 30th.
Submit films of less than 20 minutes to:
The Journal of Short Film
Film Studies Program
Smith Laboratory, Rm 4108
174 W. 18th Avenue
Columbus, OH 43210, USA
The Submission must contain your:
Film, name, postal address, email address and telephone number.
Include an addressed, stamped envelope if you’d like it returned.
All submissions are carefully considered. It may take up to 2 months after the
deadline to respond. Please do not submit films via email.
Acceptable submission formats:
DVDs are preferred, though VHS tapes will be accepted on a need basis.
DVDs must be Region 1, NTSC. Please no PAL tapes or discs.
Rights and Clearances
The filmmaker maintains the rights to the film. The publishing right granted
to the JSF is a non-exclusive, one-time serial right.
Films must have ALL clearances available in writing. Copies may be requested
later.
Thank you for submitting your work to the Journal of Short Film!
Wednesday, April 7, 2010
Tuesday, March 23, 2010
Visit to the 2010 Cleveland International Film Festival (CIFF)
To help spread the word about the Journal of Short we visited the 34th Cleveland International Film Festival. While at the festival we attended part of the Independent Short Film Programming and created a few reviews of the films and over all programs.
Independent Short Program #1 Overview- Cross Cultural Displays of an Oppressive Human State.
CIFF Link
Shorts Program 1 is a collection of independent films that span from animation to documentary, from news report spoof to action flick, and melodrama to romantic comedy. Even with this wide breadth of content these films all have a connecting theme of a society with an oppressive sense of humanity. These six films show us violent bank robbers who bless their endeavors before God, parents who would do anything to control their child’s life from administering drugs to solitary confinement, rape, and defragmentation of the human image. The only glimmer of hope offered by these films are escape to a park swing or a Japanese baseball team, help from a blue bird or a bunch of red balloons, and a release of these destructive ideals through art. Overall the end result of the show is an in-depth perspective of filmmakers working in several countries, through several cinematic styles, but finding common themes and values.
Independent Short Film Program #1 : Karaçelik’s Rapunzel Review
CIFF Link
Director: Tolga Karaçelik
Run Time: 18 minutes
Country: TURKEY
Rapunzel
Rapunzel is the 6th film directed by the Turkish filmmaker Tolga Kenan KARAÇELİK since 2004. The film takes a reflective look at silent cinema’s portrayal of a love story set in a modern landscape. Based on the Grim Brothers 1812 German fairy tale the film depicts a wandering male vagabond and a parentally confined female trying to communicate their feelings from two different worlds. The male vagabond sleeps in forgotten buildings and wanders the city releasing red balloons into the sky setting them free from the confinement of the city. The confined female spends her days locked under parental monitoring forced to endlessly work on her education. The attraction to a stray balloon initiates a fairytale of romance that leads to the Rapunzel prototype Ayse’s descent out of a window onto a bed of balloons and eventually into the arms of her vagabond savior.
Independent Short Film Program #1: Darling’s Polly and Me Review
CIFF Link
Director: Ian Darling
Run Time: 25 minutes
Country: AUSTRALIA
Polly and Me
Australian Documentary Filmmaker Ian Darling’s fictional film Polly and Me takes a sometimes nightmarish look into the life of a young girl who gains a semblance of peace only after experiencing great strife. The story of this film shows a young girl acting out a fantasy mother-daughter relationship with her toy doll Polly while she is thwarted at every attempt to create a maternal connection with her down-and-out mother. The main driving force of the narrative is the young girl’s goal of going to the park with her mother. She spends her days looking out a window at other mothers and daughters playing on the swings while her mother shoots up or gets ready to find a male client to bring home. Eventually the film gives the viewers a glimmer of hope when the young girl begins counting the days to a picnic that promises the long awaited mother daughter outing. The young girl’s dream is not fulfilled and regrettably leads to her further isolation from a now deceased mother and a society that moves around her oblivious to her plight. Darling’s visibly noticeable documentary style, use of a distorting soft focus, and the acting skills of young Emma Palmer creates a film that is fictional in creation but documents the trial and tribulation of women and girls that live in a society that often ignores their dilemmas.
Independent Short Program #6 Overview : Utilization of Tragedy through both Comedy and Drama.
CIFF Link
Shorts Program 6 includes nine films, eight from the USA and one from Singapore. The program in total uses tragedy as it’s main form of communication both in comedic and dramatic modes. From a child loosing his teeth as an act of revenge by the tooth fairy to a father killing his only son in a struggle for repentance, the films show us themes and values that are communicating the tragedy of life. Five of the films can be classified as comedies but to gain the laughter of the audience they use comedic techniques of story telling to create a conflicting message about death, relationship breakups, abuse, physical separation from the one you love and violent prejudice against homosexuals. In the other four films similar topics of death, injustice, physical violence and unraveling the human image are portrayed in dramatic modes which does not set the audience in conflict with the characters but invokes sympathy in an attempt to create understanding. The filmmakers in Short Program 6 have created films that take the viewers from sorrow to laugher and back again and as a combined force demonstrate the powerful ways in which tragedy can manipulate an audience.
Independent Short Film Program #6 : Suter’s Easy Made Hard the Film Review
CIFF Link
Director: Delphine Suter
Run Time: 15 minutes
Country: USA
Easy Made Hard the Film
In Delphine Suter’s directorial debut, Easy Made Hard re-enacts a true life story of a troubled son and a father that wants his repentance. Painting a picture of life in the African American neighborhoods in L.A., Suter shows us a man who is loved by children and is known for his good nature by all in his community. This man who appears to have respect for all human kind before God, is asked to shelter or cast away his only son who has asked for help after a convenient store hold up that has turned deadly.
The power of this story lies in the portrayal of the son and father. Rhonnie Washington as the loving father shows us a time and place similar to that of the Garden of Eden in Genesis. The father tried so hard to protect everyone from the evil of sin but when, through free will, the son chooses to commit sin anyway, the father cannot offer compassion. Lloyd Roberson II as the son shows us the true human condition of how ignorance of true faith in something can lead us down a path filled with pit falls and never ending excuses. The father demands repentance and the son demands understanding which leads to a conflict that humans have faced since the beginning of time. What is right or wrong and ultimately who decides. Life can be so fleeting and this conflict like so many others eventually leads to a the father’s final judgment that cannot be revoked.
Keep an eye out for these films as well as the next volume of the JSF.
Matt Swift
Academic Advisor- OSU Film Studies Program
Production Lead-The Journal of Short Film
Nikki Swift-The Columbus Moving Image Art Review
Independent Short Program #1 Overview- Cross Cultural Displays of an Oppressive Human State.
CIFF Link
Shorts Program 1 is a collection of independent films that span from animation to documentary, from news report spoof to action flick, and melodrama to romantic comedy. Even with this wide breadth of content these films all have a connecting theme of a society with an oppressive sense of humanity. These six films show us violent bank robbers who bless their endeavors before God, parents who would do anything to control their child’s life from administering drugs to solitary confinement, rape, and defragmentation of the human image. The only glimmer of hope offered by these films are escape to a park swing or a Japanese baseball team, help from a blue bird or a bunch of red balloons, and a release of these destructive ideals through art. Overall the end result of the show is an in-depth perspective of filmmakers working in several countries, through several cinematic styles, but finding common themes and values.
Independent Short Film Program #1 : Karaçelik’s Rapunzel Review
CIFF Link
Director: Tolga Karaçelik
Run Time: 18 minutes
Country: TURKEY
Rapunzel
Rapunzel is the 6th film directed by the Turkish filmmaker Tolga Kenan KARAÇELİK since 2004. The film takes a reflective look at silent cinema’s portrayal of a love story set in a modern landscape. Based on the Grim Brothers 1812 German fairy tale the film depicts a wandering male vagabond and a parentally confined female trying to communicate their feelings from two different worlds. The male vagabond sleeps in forgotten buildings and wanders the city releasing red balloons into the sky setting them free from the confinement of the city. The confined female spends her days locked under parental monitoring forced to endlessly work on her education. The attraction to a stray balloon initiates a fairytale of romance that leads to the Rapunzel prototype Ayse’s descent out of a window onto a bed of balloons and eventually into the arms of her vagabond savior.
Independent Short Film Program #1: Darling’s Polly and Me Review
CIFF Link
Director: Ian Darling
Run Time: 25 minutes
Country: AUSTRALIA
Polly and Me
Australian Documentary Filmmaker Ian Darling’s fictional film Polly and Me takes a sometimes nightmarish look into the life of a young girl who gains a semblance of peace only after experiencing great strife. The story of this film shows a young girl acting out a fantasy mother-daughter relationship with her toy doll Polly while she is thwarted at every attempt to create a maternal connection with her down-and-out mother. The main driving force of the narrative is the young girl’s goal of going to the park with her mother. She spends her days looking out a window at other mothers and daughters playing on the swings while her mother shoots up or gets ready to find a male client to bring home. Eventually the film gives the viewers a glimmer of hope when the young girl begins counting the days to a picnic that promises the long awaited mother daughter outing. The young girl’s dream is not fulfilled and regrettably leads to her further isolation from a now deceased mother and a society that moves around her oblivious to her plight. Darling’s visibly noticeable documentary style, use of a distorting soft focus, and the acting skills of young Emma Palmer creates a film that is fictional in creation but documents the trial and tribulation of women and girls that live in a society that often ignores their dilemmas.
Independent Short Program #6 Overview : Utilization of Tragedy through both Comedy and Drama.
CIFF Link
Shorts Program 6 includes nine films, eight from the USA and one from Singapore. The program in total uses tragedy as it’s main form of communication both in comedic and dramatic modes. From a child loosing his teeth as an act of revenge by the tooth fairy to a father killing his only son in a struggle for repentance, the films show us themes and values that are communicating the tragedy of life. Five of the films can be classified as comedies but to gain the laughter of the audience they use comedic techniques of story telling to create a conflicting message about death, relationship breakups, abuse, physical separation from the one you love and violent prejudice against homosexuals. In the other four films similar topics of death, injustice, physical violence and unraveling the human image are portrayed in dramatic modes which does not set the audience in conflict with the characters but invokes sympathy in an attempt to create understanding. The filmmakers in Short Program 6 have created films that take the viewers from sorrow to laugher and back again and as a combined force demonstrate the powerful ways in which tragedy can manipulate an audience.
Independent Short Film Program #6 : Suter’s Easy Made Hard the Film Review
CIFF Link
Director: Delphine Suter
Run Time: 15 minutes
Country: USA
Easy Made Hard the Film
In Delphine Suter’s directorial debut, Easy Made Hard re-enacts a true life story of a troubled son and a father that wants his repentance. Painting a picture of life in the African American neighborhoods in L.A., Suter shows us a man who is loved by children and is known for his good nature by all in his community. This man who appears to have respect for all human kind before God, is asked to shelter or cast away his only son who has asked for help after a convenient store hold up that has turned deadly.
The power of this story lies in the portrayal of the son and father. Rhonnie Washington as the loving father shows us a time and place similar to that of the Garden of Eden in Genesis. The father tried so hard to protect everyone from the evil of sin but when, through free will, the son chooses to commit sin anyway, the father cannot offer compassion. Lloyd Roberson II as the son shows us the true human condition of how ignorance of true faith in something can lead us down a path filled with pit falls and never ending excuses. The father demands repentance and the son demands understanding which leads to a conflict that humans have faced since the beginning of time. What is right or wrong and ultimately who decides. Life can be so fleeting and this conflict like so many others eventually leads to a the father’s final judgment that cannot be revoked.
Keep an eye out for these films as well as the next volume of the JSF.
Matt Swift
Academic Advisor- OSU Film Studies Program
Production Lead-The Journal of Short Film
Nikki Swift-The Columbus Moving Image Art Review
Monday, February 22, 2010
The NY Times highlights artists featured in our own Volume 6.
The New York Times has a chat with Australian independent film collective Blue-Tongue Films about their beginnings and recent exposure in film festivals across America - in addition to their Oscar nomination. The JSF included "Lucky", a Blue-Tongue short film, in Volume 6.
http://www.nytimes.com/2010/02/18/movies/18tongue.html
http://www.nytimes.com/2010/02/18/movies/18tongue.html
Tuesday, January 26, 2010
Journal of Short Film Vol. 17 Release Screening
Wednesday, February 17th 5pm-7pm
Hagerty Hall 0180
1775 College Rd
Columbus, OH 43210
Join us for a preview screening featuring content from
The Journal of Short Film’s latest release Volume 17.
Light refreshments will be provided.
The Journal of Short Film released Volume 17 on January 10th 2010. The JSF is celebrating its fifth year of publication and continues to be one of film’s best repositories of short work. To date, the JSF has published over 160 filmmakers from over a dozen countries. Volume 17 includes eight films from a diverse group of filmmakers. Films from this volume span the use of digital video, flexible film, stop motion animation, found footage and still photography to create a variety of independent visual styles.
For mor information;
Contact: John E. Davidson, Executive Editor, The Journal of Short Film, e-mail: theJSF@osu.edu
Friday, January 22, 2010
The Journal of Short Film releases Volume 17
| | The Journal of Short Film releases Volume 17 The Journal of Short Film released Volume 17 on January 10th 2010. The JSF is celebrating its fifth year of publication and continues to be one of film’s best repositories of short work. To date, the JSF has published over 160 filmmakers from over a dozen countries. Volume 17 includes eight films from a diverse group of filmmakers. Films from this volume span the use of digital video, flexible film, stop motion animation, found footage and still photography to create a variety of independent visual styles. |
THE COMPLETE LIST:
| 1. THOKA – Thorbjorg Jonsdottir (2008, 5:10) | 2. WALK – Meg Knowles (2006, 3:00) |
| 3. LOOM – Scott Kravitz (2006, 5:15) | 4. PRINCESS MAGARET BLVD. – Kazik Radwanski (2008, 14:00) |
| 5. DJINN – Eliane Lima (2008, 14:47) | 6. WHISPERING PINES #5 – Shana Moulton (2005, 6:30) |
| 7. NOTHING IS OVER NOTHING – Jonathan Schwartz (2008, 16:00) | 8. MIXED SIGNALS – Richard Martin (2005, 8:00) |
The Journal continues to have a free and open submissions process. Submissions should be sent to The Journal of Short Film, Film Studies Program, Smith Laboratory, Rm 4108,174 W. 18th Avenue, Columbus, OH 43210, USA. The Journal remains ad-free and committed to independent and underrepresented work.
Contact: John E. Davidson, Executive Editor, The Journal of Short Film, e-mail: theJSF@osu.edu
Visit theJSF.org for more information
Tuesday, January 12, 2010
The Journal of Short Film arrives at Ohio State University
Dear Friends and Colleagues:
The Film Studies Program at The Ohio State University is pleased to announce that it is now the publisher of The Journal of Short Film. This quarterly DVD-publication of original artistic work was founded by Karl Mechem, who served as its Executive Editor through the initial four years. The editorial review board has included Associate Curator Jennifer Lange and Studio Editor Paul Hill from the Media Arts area of the Wexner Center for the Arts. They have graciously agreed to continue working with us in that capacity and are joined at the present time by Assistant Professor of Film and Media Studies, Brian Hauser of Union College. Matt Swift, Academic Advisor for the Film Studies Program is overseeing the production process from within our office.
Having now assumed the role of Executive Editor of the Journal of Short Film, I’m thrilled with its current state and potential for the future. With Volume 17 in production and the selection process for Volume 18 underway, we are committed to maintaining the JSF’s place as the unique outlet for original creative work in this vein. I invite you to visit our website at www.thejsf.org to learn more about the submission process, previous and forthcoming volumes, discounted orders, individual and institutional subscriptions, and the time and place of release screenings. Our future plans include developing companion components such as critical textual sites and pedagogical packages, and these will be detailed on the website as they come into full focus.
Beyond the new address, listed above, current subscribers should notice no changes in price or service as a result of the JSF’s transfer. Please check out the JSF, consider subscribing if you do not already do so, and pass word along to your friends, colleagues, and libraries.
Sincerely,
John E. Davidson, Director
The Film Studies Program
Associate Professor in Germanic L&L
The Journal of Short Film
4108 Smith Laboratory
174 W. 18th Avenue
Columbus, Ohio 43210
614-292-6044 (phone)
614-688-5678 (fax)
thejsf@osu.edu
The Film Studies Program at The Ohio State University is pleased to announce that it is now the publisher of The Journal of Short Film. This quarterly DVD-publication of original artistic work was founded by Karl Mechem, who served as its Executive Editor through the initial four years. The editorial review board has included Associate Curator Jennifer Lange and Studio Editor Paul Hill from the Media Arts area of the Wexner Center for the Arts. They have graciously agreed to continue working with us in that capacity and are joined at the present time by Assistant Professor of Film and Media Studies, Brian Hauser of Union College. Matt Swift, Academic Advisor for the Film Studies Program is overseeing the production process from within our office.
Having now assumed the role of Executive Editor of the Journal of Short Film, I’m thrilled with its current state and potential for the future. With Volume 17 in production and the selection process for Volume 18 underway, we are committed to maintaining the JSF’s place as the unique outlet for original creative work in this vein. I invite you to visit our website at www.thejsf.org to learn more about the submission process, previous and forthcoming volumes, discounted orders, individual and institutional subscriptions, and the time and place of release screenings. Our future plans include developing companion components such as critical textual sites and pedagogical packages, and these will be detailed on the website as they come into full focus.
Beyond the new address, listed above, current subscribers should notice no changes in price or service as a result of the JSF’s transfer. Please check out the JSF, consider subscribing if you do not already do so, and pass word along to your friends, colleagues, and libraries.
Sincerely,
John E. Davidson, Director
The Film Studies Program
Associate Professor in Germanic L&L
The Journal of Short Film
4108 Smith Laboratory
174 W. 18th Avenue
Columbus, Ohio 43210
614-292-6044 (phone)
614-688-5678 (fax)
thejsf@osu.edu
Monday, November 30, 2009
Press Release: The Journal of Short Film Releases Volume 16
The Journal of Short Film released Volume 16 on September 15, 2009. The JSF is celebrating its fourth year of publication and continues to be one of film’s best repositories of short work. To date, the JSF has published over 160 filmmakers from over a dozen countries.
Volume 16 includes eleven films from a diverse group of American filmmakers. Whether through humor, seriousness, or trickery, these artists tackle linguistics, parenthood, romance, kinetics, street performance, the challenge of capturing the ephemeral, and much more.
The complete list:
1. HOW TO DRAW CLOUDS – Salise Hughes (2006, 2:10) A poetic meditation on the desire to make permanent what is ephemeral. 2. SANS SUPERVISION – Andrew T. Betzer (2006, 11:00) Over three outings with her parents, a little girl suspects she may be the only adult left in the family. 3. COLOR FILM – Meghan O’Hara (2008, 6:50) A short film exploring the gap between language and perception. 4. ARCHIVE: THE CHANGING WORLD OF FILM – Charlie Cline (2004, 6:00) A series of clips in the style of early actualities, demonstrating the consequences of breaking the rules of film language. 5. IT’S HARD TO WRECK A NICE BEACH/IT’S HARD TO RECOGNIZE SPEECH – Adebukola Bodunrin (2007, 15:00) A quirky tale of language, society, adaptation, and what makes us who we are. 6. PEEKS – Jo Dery (2009, 2:20) Momentary glimpses of construction and destruction in our man-made and natural world. Made with collaged images from National Geographic. 7. PLEDGE – Ann Steuernagel (2006, 6:00) Using a mounting crescendo of music and images of masculinity, PLEDGE is a meditation on violence, innocence, and the everyday. 8. CALIFORNIA KING – Eli Akira Kaufman (2008, 21:00) A mattress salesman, who employs faux science to sell beds, falls for an insomniac who knows her science better than her heart. 9. PATRON SAINT OF COLLAPSING ART MARKETS – David Kagan (2009, 2:30) Episode two of the series, My Dead Gay Son. Newly deceased, Bunny Boy must find a vocation in the afterlife. 10. WATCH ME BREAK IT DOWN. – Julie Perini (2006, 00:39) Julie Perini proves that any space can become a temporary disco with this series of improvised dances in public locations. 11. COUP DE FOUDRE – Stacie Sells & Cassandra Troyan (2008, 15:00) Initial intentions aim at using more personally aggressive actions as a way to subjectification, by acknowledging, then conquering, stereotypes of femininity.
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