MIRAJ/Artists’ Moving Image Network

The Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed scholarly publication devoted to artists’ film and video work.

The journal offers a forum for debates surrounding all forms of artists’ moving image and media artworks: films, video installations, expanded cinema, video performance, experimental documentaries, animations, and other screen-based works made by artists. MIRAJ aims to consolidate the artist's moving image as a distinct area of study that bridges a number of disciplines, not limited to, but including art, film, and media.

It is published twice a year in print by Intellect in collaboration with University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks.
The editors invite contributions from art historians and critics, film and media scholars, curators, and, not least, practitioners. We seek pieces that offer theories of the present moment but also writings that propose historical re-readings. We welcome essays that:

  • Review canonical works and texts and identify ruptures in the standard histories of artists’ film and video.
  • Discuss the development of media arts, including the history of imaging technologies
  • Address issues of the ontology and medium-specificity of film, video and new media.
  • Attempt to account for the rise of projected and screen-based images in contemporary art, and the social, technological, or political-economic effects of this proliferation.
  • Investigate interconnections between moving images and still images and  the interaction of the moving image with technology, human presence and the installation environment.
  • Analyse para-cinematic or extra-cinematic works to discover what these tell us about cinematic properties such as temporal progression or spectatorial immersion or mimetic representation.
  • Explore issues of subjectivity and spectatorship.
  • Investigate the spread of moving images beyond the classical spaces of the cinema and galleries, across multiple institutions, sites and delivery platforms.
  • Consider the diverse uses of the moving image in art: from political activism to pure sensory and aesthetic pleasure, from reportage to documentary testimony, from performativity to social networking.
  • Suggest new methods of theorising and writing the moving image.

We welcome work that intersects with other academic disciplines and artistic practices. We encourage writing that is lucid, without compromising intellectual rigour. 

Editorial and advisory board

Founding Editor: Catherine Elwes, CCW Graduate School, University of the Arts London.
Associate Editors: Sean Cubitt, Goldsmiths, University of London; Eu Jin Chua, Unitec, New Zealand; Janine Marchessault, York University, Canada.
Reviews Editor: Colin Perry, CSM, University of the Arts London.
Features Editors: Erika Balsom, Carleton University, Canada; Lucy Reynolds, CSM, University of the Arts London.
Editorial Assistant: Kate Pelling, CCW Graduate School, University of the Arts London.
Editorial Board: Rachel O. Moore, Goldsmiths, University of London; A.L. Rees, Royal College of Art, London.
The International Advisory Board includes:
Mark Bartlett; Pryle Behrman; Suzanne Buchan; Ian Christie; Stuart Comer; Maeve Connolly; David Curtis; T.J. Demos; Thomas Elsaesser; Catherine Fowler; Stan Frankland; Amrit Gangar; David E. James; Laura Mulvey; Mark Nash; Michele Pierson; Pratap Rughani; Catherine Russell; Tom Sherman; Lisa Steele. 

Contact: Wendy Short, Editorial Assistant: miraj@arts.ac.uk.