Style Guide:
Please submit your articles through Google Docs so that your editor, the E-Board, and the graphics team can all have access and work collaboratively.
Include the following in the first draft:
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Name the doc in this format CYCLE#_FIRSTNAME_TITLE
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Title of the article
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Your name
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Suggested category for the article (Reviews, Theory&Criticism, Behind the Camera, Festival Reports)
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The article
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A summary of the article in third person (150 words or fewer)
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A third-person bio (optional social media link)
Nice to have things in the article:
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Pictures, media, links, etc
Your revisions should appear as new tabs in the same Google Doc, instead of a new document.
Web Article Preparation & Submission
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For Spring 2026, writers need to contribute 2 pieces out of the 5 publication cycles. Note down your ideas and your preferred publication cycles as soon as you can in the Submission Form so no one steals your idea. There is a limit of 12 articles per cycle, so write your name and idea down before they fill out!
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Submit your piece once complete to the Submission Form.
Print Journal Preparation & Submission
The print journal should be academic in scope and around 10k in length. Writers whose proposals are accepted will no longer be required to write for the web edition of DE. You are always welcome too, of course : )
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It is important that your article revolves around a central argument rather than discussing film in general.
Good example:
- In Chantal Akerman’s Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, the extreme focus on routine does not humanize domestic labor but deliberately drains it of meaning, forcing the viewer to confront how women’s lives are reduced to function rather than identity.
Bad example:
- History of feminist film in the 1960-1980s.
Good example:
- The collapse of domestic space, one of the defining qualities of film noir from the very beginning, predates WWII, and has existed since the period of proto-noir.
Bad example:
- Film noir often explores domestic space, especially after World War II, reflecting social anxieties of the era.
Do not restate a consensus. Do not summarize an aspect of film or media. If nothing is at stake if the claim is accepted or rejected, then it is probably a bad claim.