| Discipline | Film andtelevision studies |
|---|---|
| Language | English |
| Edited by | Tim Bergfelder, Alison Butler, Dimitris Eleftheriotis, Karen Lury, Alastair Phillips, Jackie Stacey, Sarah Street |
| Publication details | |
| History | 1952–present |
| Publisher | |
| Standard abbreviations ISO 4 (alt) · Bluebook (alt) NLM (alt) · MathSciNet (alt | |
| ISO 4 | Screen |
| Indexing CODEN (alt · alt2) · JSTOR (alt) · LCCN (alt) MIAR · NLM (alt) · Scopus · W&L | |
| ISSN | 0036-9543 (print) 1460-2474 (web) |
| LCCN | 91642840 |
| OCLC no. | 59715510 |
| Links | |
Screen is anacademic journal offilm andtelevision studies based at theUniversity of Glasgow and published byOxford University Press. Theeditors-in-chief are Tim Bergfelder (University of Southampton), Alison Butler (University of Reading), Dimitris Eleftheriotis (University of Glasgow), Karen Lury (University of Glasgow), Alastair Phillips (University of Warwick),Jackie Stacey (University of Manchester), andSarah Street (University of Bristol).
Screen originated in the Society of Film Teachers' journal,The Film Teacher, in 1952. Soon after, the society was renamed as the Society for Education in Film and Television and its journal changed its name toScreen Education in 1960.Screen Education was renamed toScreen in 1969, although a separate journal titledScreen Education was also published.[citation needed]
During the 1970s,Screen was particularly influential in the nascent field offilm studies. It published many articles that have become standards in the field—includingLaura Mulvey's foundational work, "Visual Pleasure and Narrative Cinema" (1975).[1] It is still highly regarded in academic circles.
Screen theory, aMarxist-psychoanalyticfilm theory that came to prominence in Britain in the early 1970s, took its name fromScreen.[2]
The journal is abstracted and indexed in:
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