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A Journal of Semiotics in China and the World
Editor-in-Chief:
This is a Diamond Open Access journal. Articles are published in Open Access at no cost to the author.

Signs & Media: A Journal of Semiotics in China and the World introduces the traditional Chinese theories of meaning, communication and art to the world, but also brings contemporary Chinese and East Asian semiotics in dialogue with contemporary international research.

Signs & Media is a double blind peer-reviewed, academic journal focused on semiotics in relation to contemporary media, communication and the arts. With the radical changes of forms of media and communication in modern society, as well as the dazzling spectacles of signs, symbols, texts, and art being produced, read, and interpreted in this cyber age of globalization a platform is needed where perspectives from East and West are shared to analyze these versatile productions of meaning.

The journal includes full-length research articles, review articles, short communications, or other formats of materials which explore the linguistic, philosophical, sociological, anthropological, literary, cognitive and other scientific dimensions of semiotics and media studies.

The journal is relevant to researchers and practitioners of semiotics and media studies who are interested in the generation and mechanism of meaning, as well as the structure of communications through all forms of media.

Signs & Media welcomes the following types of submissions. Please have a look and check our requirements per article type.
We have more detailed guidance for the submission of book reviews.
Suggestions or proposals to guest edit a special issue are also welcome and can be sent to the publisher at BRILL, Masja Horn.
Open Access
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A Critical Journal
Editor-in-Chief:
Associate Editors: , , and
Studies in World Cinema: A Critical Journal takes a pluralistic, polycentric and non-normative approach to the notion of ‘world cinema’ understood as a dynamic and all-inclusive concept. From a wide range of methodological perspectives and with a keen eye for the imbalances of power regarding access to and visibility in the global market, the aim is to inquire into both local and global cinematic practices as well as their interaction and contact zones, in both a historical and a current context.
Against this background, the journal invites contributions from scholars across the world on topics such as traveling cinematic tropes, creolization, transnational practices, global genres, remakes and rip-offs in new contexts, translation cultures, migrant and diasporic films and film cultures, collaborations and exchanges among filmmakers, co-productions and multinational filmmaking practices and networks, film festivals, films with ‘multinational themes’ such as globalization and climate change, the impact of new technologies on the international distribution of cinema, films which engender novel senses of the world in different cinematic practices, as well as theoretical discussions of the very idea of ‘world cinema’ and related concepts such as transnational cinema, but the list is far from exhaustive.
The journal also publishes themed special issues, for which contributions are invited from guest editors.

All articles undergo a double-blind peer review prior to publication.
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