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Submission Guidelines
*** All submissions must include the title of the contribution, the name(s) of the authors, and the postal address, e-mail address, and phone numbers for the author who will serve as the primary contact with the editors on revisions. Electronic submissions should be sent as Microsoft Word .doc or Rich Text Format attachments to octopusjournal@gmail.com. Please put the word “submission” somewhere in the subject line. Manuscripts to be considered for publication should be accompanied by an abstract of no more than 150 words, six keywords, and a short biographic entry about the author(s). Please provide a brief history of the manuscript; whether it is part of a dissertation or thesis, book-length project, conference presentation, etc. Because Octopus follows a policy of blind peer-review, no material identifying the author(s) should appear anywhere other than on the detachable title page. Manuscripts should conform to CHICAGO formatting standards. For book reviews and criticism [~750 words] please include title of book(s), retail price, and ISBN at the beginning of the review. Art/show reviews should include the gallery, curator, and dates. For film and video/media reviews, include the director, production company (if applicable), and year of production. Manuscripts and reviews submitted to Octopus should not be under consideration at any other journal. Written permission to reproduce film and video stills, artworks, photographs, song lyrics, or any other copyright protected materials must be obtained by the authors from the copyright-holders before submission. Subscriptions/Advertising: Octopus is an interdisciplinary, peer-reviewed journal published by the graduate students of the Ph.D. Program in Visual Studies at the University of California, Irvine. The journal is devoted to work by emerging scholars engaged with visuality, culture, history, and theory from a range of contexts, disciplines, and methodologies. In addition to submissions about its current theme (if any), Octopus welcomes scholarship and criticism addressing questions regarding the politics of vision, the historicity of visual practices, and the cultures and theories of vision and visuality on an on-going basis. |
