Jack:

It might help if you could define the borders of the cinematic domain you want 
to include/exclude. I assume it's not exclusively experimental/avant garde, but 
are you also including standard Hollywood fare*, crappy exploitation films (as 
well as hip, self-aware stuff), documentaries, etc.? And how literal would the 
invocation of magic or occultism need to be in the work? For example, a lot of 
narrative film seem to rely on and celebrate 'magical' plot mechanisms in a 
similar sense as described by Raymond Williams in "Advertising: The Magic 
System." I'd guess, just knowing your previous work, that this is probably not 
what you're looking for, but I'm just using it as an example.

I realize editors want to cast a wide net in order to get a strong field, but 
they also have a responsibility to would-be contributors who might be wasting 
time and effort preparing proposals or submissions that are just out of right 
field for the theme (LEFT field, being sinister, not being an appropriate 
trope).

> I'm currently editing a volume on magic / the occult and cinema, and I'm 
> interested in contributors, especially on lesser known filmmakers and works 
> or offering new approaches to more familiar filmmakers working (or who have 
> worked) in the area. I'm also very interested in writers on works from Japan 
> and China.
> 
> Email me OFF LIST for details .
> 
> best
> 
> Jack


* How about: "Whoah, THAT's fucked!" Drive Angry versus Ghostrider 2?

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