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Editorial Policy

 

CST is an international, refereed online and hard copy journal focusing on fictions made for the small screen. It is published twice yearly (October and March) online but also in an annual hard copy edition (published by Manchester University Press).

CST aims to be scholarly but accessible. It takes current and past television seriously and aims to encourage the academic and broader intellectual communities to recognise the value of the critical study of small screen fictions in the broadest sense (see, Notes for Authors). The journal invites analyses of the compositional principles and aesthetics of texts as well as research findings on related production and reception contexts. It welcomes contributions on present and past production. The immediacy of online publication is particularly suitable for a medium, which has both a major social impact and a rapid turnover. Besides refereed articles, CST online will also afford a space called TV Shorts, providing a forum for immediate responses to programmes, as well as a bulletin board for quick responses and open critical debate. Hard copy CST will carry different material from the online version, focusing on selected topics as well as extended versions of TV Shorts by invitation.

CST seeks to attract contributions from academics, scholar-fans and fan-scholars as well as programme-makers, industry-scholars and journalists.

Editorial Board

Editors: Kim Akass, Stephen Lacey, David Lavery, Janet McCabe, Robin Nelson, Rhonda V. Wilcox.

Corresponding Editors

Stacey Abbott, University of Surrey, Roehampton, UK Jonathan Bignell, Reading University, UK. Michele Byers, SMU, CA. Sarah Cardwell, University of Kent at Canterbury, UK. Lez Cooke, Manchester Metropolitan University, UK. John Corner, University of Liverpool, UK. Glen Creeber, Aberystwyth, University of Wales, UK. Stuart Cunningham, Queensland University of Technology, AU. Lynne Edwards, Ursinus College, USA. Jane Feuer, University of Pittburgh, USA. Christine Geraghty, University of Glasgow, UK. Sara Gwenllian-Jones, Cardiff University, UK. Julia Hallam, University of Liverpool, UK. Jason Jacobs, Griffith University, AU. Deborah Jermyn, University of Surrey, Roehampton, UK. Mikel Kovan, Aberystwyth, University of Wales, UK. Mark Lawson, journalist, UK. Geoff Lealand, The University of Waikato, NZ. Tara McPherson, University of Southern California, USA Máire Messenger Davies, University of Ulster, Coleraine, UK. Toby Miller, University of California, Riverside, USA. Albert Moran, Griffith University, AU. Steve Neale, University of Exeter, UK. Roberta Pearson, University of Nottingham, UK. Jane Roscoe, AFTRS, AU. Sue Turnbull, LaTrobe University, Melbourne, AU. Helen Wheatley, Reading University, UK. J.P. Williams, OHIO, USA.

Notes for Authors

Critical Studies in Television aims to provide a major international forum for the presentation of research and discussion of television with a specific focus upon fictions made for the small screen. The emphasis of the journal is thus on programmes constructed for the medium of television not specifically catered for in current academic journals. This includes episodic, series-serial drama, continuing serial dramas (soaps) and single plays, but CST is also open to consideration of innovative and interactive fictions for the small screen.

CST acknowledges in its open title that the understanding of television texts extends to production and reception contexts and that it is increasingly difficult to delineate factual from fictional constructs. Thus, contributions locating television products in a wider range of issues in cultural and social analysis are welcome.

To be as clear as possible, studies of Reality TV focusing on performative or narrative aspects might be acceptable. Contributions on TV movies may be acceptable whilst issues relating to theatre and films subsequently shown on television might be more appropriate in other journals (e.g. Screen or SCOPE). Articles on television news which analyse its narrative form and other devices typical of fictional dramas might be acceptable, whilst statistical analyses of news programming might be better offered to a journal such as Media, Culture and Society.

Procedures for Submission

Articles should not exceed 5000 words, although space online is available for longer contributions where the need for scope is demonstrable. Contributions should be submitted electronically by 1 December (for the March issue) and 1 April (for the October issue). They should follow the format outlined below and be accompanied by a 100-150 word abstract. Acknowledgement of receipt will be given and contributions refereed anonymously. Articles should be in English. Authors are responsible for obtaining permissions from copyright holders for reproducing any previously published material. Unsolicited manuscripts will not be returned.

TV Shorts, maximum 2500 words, should be submitted electronically to the CST Administrator and, to ensure a quick turnaround, will be approved by the editorial panel alone prior to posting. Writers of the best contributions will be invited to re-work and extend their pieces for possible publication in the hard copy issue.

Format for Submitted Work

Articles and TV Shorts must be typed in double spacing. British spelling should be used except in the case of words where the ‘z’ has generally replaced the ‘s’ e.g. organize. Use italic type as appropriate for titles of publications and single quotation marks for articles. Tables and figures should be clearly labelled and explained in the text. Essential endnotes should be indicated by superscript figures in the text and collected on a single page at the end of the article. References cited in the text should read thus: (Jenkins 1992: 63-4), (Jenkins and Jones: 1987, 1980). Use ‘et al.’ when citing a work by more than two authors, e.g. (Jenkins et al. 1988). The letters a, b, c etc. should be used to distinguish different citations by the same author in the same year, e.g. (Jenkins 1985a, 1985b). All references cited in the text should be listed alphabetically and in full after the notes, using the following style:

Akass, Kim and Janet McCabe (2004) ‘Ms Parker and the Vicious Circle: Female Narrative and Humour in Sex and the City.’ In Kim Akass and Janet McCabe (eds) Reading ‘Sex and the City’. London: I.B. Tauris: 177-198.
Battles, Kathleen and Wendy Hilton-Morrow (2002) ‘Gay Characters in Conventional Spaces: Will and Grace and the Situation Comedy Genre.’ Cultural Studies in Media Communication. 19.1: 87-105.
Coren, Victoria. ‘Sex and the City Has Betrayed Us Single Women.’ Evening Standard. 3 January 2003: 11.
Gibson, Janine. ‘Miranda, My Hero’. 21 February 2003. www.guardian.co.uk.
Lavery, David, ed. (2002) This Thing of Ours: Investigating ‘The Sopranos’. Columbia: Columbia University Press.
Nelson, Robin (1997) TV Drama in Transition: Forms, Values and Cultural Change. London: MacMillan.

For submitted articles, the name(s) of the author(s) should appear on a separate title page only.

Agreement to Publish

Authors submitting e-copy or a typescript do so on the understanding that, if it is accepted for publication, exclusive copyright of the article shall be assigned to the publisher, and the author will be required to sign a copyright indemnity declaration. Authors whose articles are accepted may be requested to provide a copy of their work on computer disk for subsequent hard copy publication. The publisher will not charge authors who wish to use their articles again in publications they may subsequently write or edit. For hard copy publication, authors must correct proofs promptly and not make revision on them.

Editorial correspondence, including book and conference reviews, and proposed contributions should be e-mailed in the first instance to the CST Administrator: editors@criticalstudiesintelevision.com.

Any hard correspondence should be addressed sent to:

CST Administrator,
Critical Studies in Television,
Department of Contemporary Arts,
Manchester Metropolitan University,
MMU Cheshire,
Hassall Road,
Alsager,
Stoke-on-Trent ST7 2HL
UK

For further details on CST, see: www.criticalstudiesintelevision.com