1. Submission
1.1. Submission of proposals
Proposals should include a title and abstract (500 words), plus a biographical note (100 words). Reading committees will be particularly attentive to proposals that include a problematic and forward-looking development. Abstracts may be accompanied by an indicative bibliography of works or articles consulted. Proposals are collected by the issue editors, anonymized, and forwarded to the editorial board for evaluation.
1.2. Submission of articles
Émergences articles are between 30,000 and 60,000 characters (6,000 to 12,000 words), including spaces (footnotes included; excluding bibliography and appendices). In preparation for editorial work, we would be grateful if authors could familiarize themselves with the journal’s editorial standards. Articles should be submitted as text files (.docx, .doc or .odt).
Each article must be accompanied by:
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a biography (maximum 150 words),
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an abstract (maximum 200 words, in both French and English),
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five keywords (in both French and English).
Non-textual elements such as images and musical examples should be placed in a separate folder and attached to your submission, rather than being included in the body of the document. In the body of the text, these elements should be clearly identified by number and location (e.g. “Insert example 4 here”).
2. Instructions for authors
2.1. Editorial standards (in-text)
We invite authors to carefully read the following editorial standards:
Émergences does not allow titling that exceeds two levels. We therefore invite you to opt for a simple, comprehensible titling, which we will lay out later.
1. Section heading
1.1. Subsection heading
In accordance with academic practice, quotations must be clearly identified by the use of US quotation marks and the mention of the source as specified below. Second-level quotations are framed by simple quotation marks.
“Vivre véritablement, c’est refuser les autres.”
“Zanuck gave Raksin permission to ‘save’ the sequence”.
In order not to overload the page layout, bibliographical references should be presented in author-date format, in the body of the text and in abbreviated form: the name of the author and the year of publication (or last edition) should be given in brackets, supplemented by the number of the pages or paragraphs cited.
“Co-occurrence binds audio and visual stimuli together in the same way” (Louden 2021, 243).
Footnotes are limited to comments or secondary arguments that do not belong in parentheses in the text.
Common abbreviations (1st, 2nd, Mrs., etc.) and acronyms are permitted. Acronyms must be fully explained in parentheses when first used. Example: “Lors de la première adhésion à la Scam (Société civile des auteurs multimédia)…”
2.2. Presentation of media (in-text)
As is customary, titles of works are written in italics, unlike movements and subdivisions of works, which are presented in quotation marks. Titles of media should be written in the same language as the article.
When mentioning titles for the first time, include the director’s name and year of release in brackets, unless already stated in the sentence. If the original title provides useful information, it may be specified. When mentioned subsequently, an abbreviated title may be used to improve readability.
a) Movies
Title (original title, director, year of release).
X-Men: The Last Stand (Brett Ratner, 2006).
The Gleaners and I (Agnès Varda, 2000).
Parasite (기생충, Gisaengchung, Bong Joon-ho, 2019).
Later use: X-Men 3, The Gleaners.
b) TV series
Title (network/streaming service, year of broadcast).
The Office (NBC, 2005-2013).
Money Heist (Antena 3, 2017; Netflix, 2019-2021).
c) Videogames
Game title (developer, year of release).
The Legend of Zelda: Breath of the Wild (Nintendo EPD, 2017).
d) Online videos
“Title” (channel name, hosting platform, date of publication, URL).
“The Last Jedi: ‘The Battle of Crait’ by John Williams (Score Reduction and Analysis)” (David McCaulley, YouTube, 7 December 2022, https://www.youtube.com/watch?v=0z0V_7esOHE).
Analyses should always include precise citations of the timecodes, indicated in brackets (e.g. 01:12:32). When a timecode is first mentioned, the footnote should specify the source material used (e.g. “Harmonic reduction based on the DVD version”, “Analysis based on the episode available on Amazon Prime”). For musical examples on staves, indicate whether they are personal transcriptions and the medium used to make the transcription (e.g. film, soundtrack, etc.).
Each figure must be captioned and numbered in Arabic numerals according to the following standard:
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Fig. 1: Title of work, author, year.
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Ex. 2: Title of film or cue analysed, brief description of the example (start timecode).
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Ex. 3: Series title, S00E00, brief description of the example (start timecode).
Fig. 1: La Liberté guidant le peuple, Eugène Delacroix, 1830.
Ex. 2: Gladiator, Maximus dreams of his homeland, personal reduction of the film’s melody and harmony (02:50:57).
Ex. 3: The OA, S01E03, Rachel’s voice is amplified (54:55).
2.3. Bibliographic standards
In addition to the references given in the text, the bibliography at the end of the article must comply with the standards of the 17th edition of the Chicago Manual of Style. The presentation rules for the main types of documents are as follows:
a) Book and score
|Last name|, |first name of author|. |Title of reference|. |Place of publication|: |publisher|, |year of publication|.
Berthomieu, Pierre. La musique de film. Paris: Klincksieck, 2004.
b) Article
|Last name|, |first name of author|. “|Title of article|”, |Name of journal| |volume|, no. |number| (|month and year of publication|): |pages|. |URL or DOI for digital journals|.
Van Elferen, Isabella. “Sonic Monstrosity”, Horror Studies 7, no. 2 (October 2016): 307-318. DOI: https://doi.org/10.1386/host.7.2.307_1.
c) Chapter
|Last name|, |first name of author|. “|Chapter title|”, in |Name of the work|, edited by |name of the editors|, |pages|. |Place of publication|: |publisher|, |year of publication|.
Tagg, Philip. “The ‘Work’: An Evaluative Change”, in The Musical Work. Reality or Invention?, edited by Michael Talbot, 153-167. Liverpool: Liverpool University Press, 2000.
d) Internet page
|Last name|, |first name of author if relevant|. “|Page title|”. |Site name|, |date last modified|. Accessed |date|, |URL|.
“Rules & Guidelines”. Encyclopedia Metallum. The Metal Archives, May 30, 2022. Accessed April 1, 2024, https://www.metal-archives.com/content/rules.
e) Press article
|Last name|, |first name of author|. “|Title of article|”. |Magazine/paper name|, |completion date|. |URL if digital media|.
Combis, Hélène. “La Salle Pleyel interdite de Classique”. France Culture, September 23, 2016. https://www.franceculture.fr/musique/la-salle-pleyel-interdite-de-classique.
f) Symposium talk
|Last name|, |first name of author|. “|Talk title|”. |Symposium|, |city|, |date|.
Lehman, Frank. “Thematic Transformation and the Limits of Leitmotivic Analysis”. 42nd annual meetings of the Society for Music Theory, Colombus, November 7, 2019.
g) Thesis, dissertation
|Last name|, |first name of author|. “|Title: subtitle|”. |Type of document|. |University|, |year|.
Bobée, Emmanuelle. La musique et les textures sonores comme éléments du récit filmique dans l’œuvre de David Lynch, d’Eraserhead (1977) à Inland Empire (2006). PhD thesis. Université de Rouen, 2015.
h) Podcast
“|Episode title|”. |Podcast title|, |date|. Podcast, |duration|. |URL if relevant|.
“TF#5 - la représentation des femmes dans les medias - les films”. Le Thé Féministe, May 2019. Podcast, 50:46.
i) Unpublished interview and personal communication
Unpublished interviews are cited in text “(|name of the person interviewed|, |date|)”, and in the bibliography section:
|Name|, |surname of the person interviewed|, discussion with the author, |place|, |date|.
Zimmer, Hans, discussion with the author, Los Angeles, April 25, 2021.
Personal communications (private messages, email exchanges) appear only in footnotes, formatted as: |Name|, email or direct message to author, |date|.
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It is preferable refer to original sources, avoiding second-hand quotations wherever possible. When sources cannot be found, specify “quoted in” to refer to the source consulted.
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These tips are intended to facilitate the editorial process. Even if the layout of the selected texts must be completely reworked, we would be grateful if you could follow these guidelines as precisely as possible. If you come across a situation that you haven’t anticipated, please use your best judgement and we’ll get back to you when the time is right.