FOTOCINEMA is an online scholarly journal devoted to Visual Arts and Audiovisual Communication Studies. The journal encourages contributions in areas such as the conjunctions of study, analysis, knowledge, history and reflections about Cinema and Photography. Fotocinema explores interdisciplinary school of thoughts in the present state of scholarship.
Fotocinema is published two issues in a year (January and July). The journal offers three main sections: A first section reserved for articles, a second one for miscellaneous comments and a third one for dialogues.
The first number came out in 2010. To date (issue 25, July 2022), more than three hundred and forty articles have been published. This journal is published at the University of Malaga on “Portal de Revistas de la UMA” at http://revistas.uma.es.
http://dx.doi.org/10.24310/Fotocinema.2017.v0i15
Fotocinema is indexed in SCOPUS since 2021 (Q2) and since 2022 in Q1 in Visual Arts and History. In REDIB 2020 it was in Q1. In that same year, in JCI (Journal Citation Indicator) it was ranked Q3 in art and Q4 in Cinema, Radio and TV. In 2019 it received the FECYT quality seal and since 2020 it has been renewed (Quartile 2, 5th position). In MIAR he has an ICDS of 9.5. In Google Scholar Metrics it has an h Index with a value of 12 and an ih12 Index with a value of 22. It appears in the DOAJ Directories and is part of the Latindex 2.0 catalog, meeting the 38 requirements. It is in the magazine classification systems: CIRC, CSIC-ISOC, Film & Television Literature Index and in more than 25 specialized databases such as Erih Plus and Dialnet (C1 in Art).
Coordinadores:
Manuel Blanco Pérez (Universidad de Sevilla, España) y Jerónimo Rivera Betancur (Universidad de la Sabana, Colombia).
Plazo de recepción de artículos entre el 1 y 20 de septiembre 2025. Fecha de publicación: enero 2026.
Read more about Photography in the classroom at the digital crossroads
Este monográfico se aproxima a cómo se construyen los lenguajes audiovisuales y sus sesgos androcéntricos en la producción de cine documental acaecida en España en este milenio, así como dar cuenta de las estrategias utilizadas para dar presencia y voz a mujeres y a otros colectivos disidentes, y, en última instancia, encontrar modos para reflexionar sobre los distintos niveles y capas de opresión asociados al género a través del audiovisual. Porque, como sugería Sophie Mayer (2011), el documental feminista nació con dos objetivos: visibilizar las historias de las mujeres, y cambiar los contextos de dominación que provocaron el silenciamiento de dichas historias, causa, también, de que estas fuesen, a menudo, traumáticas.
THE RECEPTION OF ARTICLES FOR THE NEXT MONOGRAPH 28 (2024), "Photography, historical methods and analysis: challenges and new paradigms", WILL BE OPEN BETWEEN SEPTEMBER 1 AND 20, 2023.
THE RECEPTION OF ARTICLES FOR MISCELLANEOUS IS CLOSED UNTIL FURTHER NOTICE.
2023 H5 | 7
13.png)
