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 

> 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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