Title<\/strong>:\u00a0Bright Lights Film Journal<\/em><\/p>\n ISSN<\/strong>: 0147-4049 (Print) and 2376-8290 (Online)1<\/sup><\/p>\n Website<\/strong>:\u00a0Bright Lights Film Journal<\/em> Home<\/a><\/p>\n Purpose, objective, or mission<\/strong>:\u00a0Bright Lights<\/em>\u00a0is a \u201cpopular-academic hybrid of movie analysis, history, and commentary looking at classic and commercial, independent, exploitation, and international film.\u201d2<\/sup>\u00a0The goal in creating the magazine was to \u201cfeature great photos and combine popular and academic styles, with humor and progressive politics tossed into the mix.\u201d3<\/sup><\/p>\n \u201cBright Lights is one of the most widely read, quoted, and respected movie sites on the Web, mixing savvy pop reviews with in-depth analysis of current and classic, edgy and indie, international and experimental cinema \u2013 with wit and a political edge.\u201d\u00a04<\/sup><\/p>\n Target audience<\/strong>: \u201cAmateur film fans to students and professors to Academy members.\u201d5<\/sup><\/p>\n Publisher<\/strong>: Bright Lights Film Journal.6<\/sup><\/p>\n Peer reviewed<\/strong>? No. \u201cWe do not formally peer-review submissions, though occasionally and informally we send articles to one or more reviewers for reaction. Examples would be pieces that seem promising but are heavily theorized, outside our area of expertise, or written by someone whose native language is not English (to determine if it\u2019s worth being made intelligible).\u201d7<\/sup><\/p>\n Type<\/strong>: Civilian publication.<\/p>\n Medium<\/strong>: Online. Print magazine was discontinued in 1995.8<\/sup><\/p>\n Content<\/strong>: Reviews, editorials, think pieces, articles, and film festival reports.<\/p>\n Frequency of publication<\/strong>: Content is updated frequently, with no set schedule.9<\/sup><\/p>\n Location of submission guidelines<\/strong>:\u00a0Submission Guidelines<\/a><\/p>\n Types of contributions accepted<\/strong>: \u201cWe are interested in short pieces (reviews of single movies, DVDs, books) and more substantial studies of directors and other key production figures (cinematographers and producers, for example), analyses of genres, studios and studio style, and topics like gender and minority contributions to film. We always need overviews of international and minority cinemas, in-depth director interviews, discussions of the impact of multimedia on film, breakthrough technologies, animation, and studies of neglected or misinterpreted figures in film history. We have no set taboos and prefer passionate, opinionated, even ranting pieces that are intelligently and engagingly written. Political, anti-capitalist, pro-sex tirades always welcome. Typically, we have no particular theme, preferring a potpourri made up of what your editor, our regular writers, and other contributors are thinking and writing about.\u201d10<\/sup><\/p>\n Submission and review process<\/strong>: Submissions are accepted via email and should be in 12-pt Times New Roman (or similar font) and double-spaced. No PDFs, RTFs, Google Docs, or HTML files. \u201cStraightforward reviews (single film, DVD, book) might be in the 1,000-2,000 range; profiles of individuals, production histories, and think pieces can run as long as the material dictates (within reason).\u201d11<\/sup><\/p>\n Response Time: \u201cFor new authors, we try to respond within two to four weeks; could be sooner or later depending on the existing pile. Feel free to nudge us if you think we\u2019re taking too long.\u201d\u00a012<\/sup><\/p>\n Editorial tone<\/strong>: Smart and educated, but still accessible to a wide audience. \u201cBright Lights<\/em>\u00a0is not an academic ghetto, and looks more for idiosyncratic style, and the ability to make ideas available to the widest possible audience, than bone-dry scholarly analysis. We are most interested in bringing ideas to a readership hungry for information but put off by standard, navel-gazing academic writing. We greatly value wit and look for literary value in submissions.\u201d13<\/sup><\/p>\n Style guide used<\/strong>:\u00a0\u201cFootnote\/references style can be MLA or any other style as long as it\u2019s consistent. However, a Works Cited approach (avoiding footnotes) is generally preferred, if possible.\u201d\u00a014<\/sup><\/p>\n This is not a LIS publication, so its potential for LIS authors is limited. The wide range of article types and writing styles that it accepts do, however, make it an intriguing possibility for LIS scholars and practitioners with a professional (archivists, media librarians, film studies librarians, etc.) or personal interest in film.\u00a0Bright Lights<\/em>\u00a0is friendly to first-time authors and employs forms similar to those found in LIS publications (reviews, reports, etc.), so it could be a good place for a writer to cut his or her authorial teeth. In addition to not being an LIS publication, this journal isn\u2019t nearly as well established in the field of film and media studies as some other publications, so it might not meet the requirements of all tenure committees. Well-written articles about \u201clibrarians in the movies\u201d might be accepted by this publication.<\/p>\n <\/p>\n Publication circulation<\/strong>: \u201cOne of the Web\u2019s most popular film sites, BLFJ averages 2,000 daily visitors and serves over 2,600 pages per day. Over 85% of our page hits are from new visitors.\u201d\u00a015<\/sup><\/p>\n Audience location and language or cultural considerations<\/strong>: \u201cOur readers hail from 190 countries around the world including, most prominently, the US, Canada, the UK, and Australia. We also receive thousands of hits from European, South American, and Asian countries where English is a second language, for example, Germany, India, Turkey, France, Italy, Ireland, the Netherlands, China, Spain, and Brazil.\u201d16<\/sup>\u00a0Bright Lights<\/em>\u00a0is written in English.<\/p>\n Reader characteristics<\/strong>: No information was available on the individual characteristics of the readers of\u00a0Bright Lights<\/em>. Writers can assume that the readers of\u00a0Bright Lights<\/em>\u00a0have a professional or personal interest in academic film studies. They are likely to work in an academic environment.\u00a0Bright Lights<\/em>\u00a0is left leaning and favors progressive, anti-capitalist politics.17<\/sup><\/p>\n Knowledge of LIS subject matter<\/strong>: LIS authors writing for this publication cannot assume that their readers have any knowledge of LIS topics, jargon, or terminology.<\/p>\n As noted in the \u201cPublication Analysis\u201d section of this entry,\u00a0Bright Lights Film Journal<\/em>\u00a0has potential for LIS authors who wish to write about LIS topics as they relate to film. That said, LIS authors need to remember that LIS subjects will always be of secondary importance to the readers of this publication; writers should take care to avoid jargon, provide background for any discussion of LIS subjects, and firmly ground their articles in the world of cinema.<\/p>\n Possible topics for LIS authors to write about for this publication include subjects pertaining to film archives; library media centers and\/or collections; libraries and\/or librarians as represented in film or in specific films; information gathering strategies for filmmakers, film studies scholars, or movie lovers; bibliographies for film and\/or film studies topics; reviews of books, films, periodicals movie soundtracks, or other materials that the LIS author might work with as a librarian.<\/p>\n Last updated<\/b>:\u00a0<\/b>September 20, 2020<\/p>\n Publication analysis About the publication Title:\u00a0Bright Lights Film Journal ISSN: 0147-4049 (Print) and 2376-8290 (Online)1 Website:\u00a0Bright Lights Film Journal Home Purpose, objective, or mission:\u00a0Bright Lights\u00a0is a \u201cpopular-academic hybrid of movie analysis, history, and commentary looking at classic and commercial, independent, exploitation, and international film.\u201d2\u00a0The goal in creating the magazine was to \u201cfeature great photos and […]<\/p>\n","protected":false},"author":772,"featured_media":0,"parent":2017,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-2604","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/pages\/2604","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/users\/772"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/comments?post=2604"}],"version-history":[{"count":3,"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/pages\/2604\/revisions"}],"predecessor-version":[{"id":3368,"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/pages\/2604\/revisions\/3368"}],"up":[{"embeddable":true,"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/pages\/2017"}],"wp:attachment":[{"href":"https:\/\/wordpress.library.illinois.edu\/infosci\/wp-json\/wp\/v2\/media?parent=2604"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}About the publication\u2019s submission guidelines<\/h3>\n
Conclusion: Evaluation of publication\u2019s potential for LIS authors<\/h3>\n
Audience analysis<\/h2>\n
\nAbout the publication\u2019s readers<\/h3>\n
Conclusion: Analysis of reader characteristics and their potential impact on authors<\/h3>\n
\nReferences<\/h4>\n
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