Tecmerin. Journal of Audiovisual Essays


Open calls. Deadline: 20 September 2023
      • Videoessays
      • Special Issue Urban Spaces and Cinema. Ibero-American Cities in the Audiovisual Field

Tecmerin: Journal of Audiovisual Essays announces its twelfth call for the publication of video essays. This journal is published by the research group Tecmerin (Television, Cinema, Memory, Representation and Industry) of Universidad Carlos III de Madrid (Department of Media).

For issue 12, the journal maintains its ordinary open call and, in addition, announces the special dossier: Urban Spaces and Cinema.  Ibero-American cities in the audiovisual field. Coordinated by Nadia McGowan (UNIR) and Luis Deltell (UCM).

Therefore, on the one hand, we invite scholars, researchers, and creators to send pieces centered on film, TV and digital production, consumption, circulation, and cultural exchange. We are particularly, but not exclusively, interested in works that focus on Spanish and Latin American cultural production. On the other, we are accepting proposals for the special dossier.

Submission deadline: 20 September 2023.


Presentation of Dossier Urban Spaces and Cinema. Ibero-American Cities in the Audiovisual Field.

The exponential development of the world’s cities and the birth of cinema went hand in hand. Thus, at the end of the 19th century, when the Thomas Alva Edison and Lumière brothers’ companies first began to popularize moving images, European and North American cities experienced their greatest growth in history. For decades, cinema was just another event in the realm of modernity. Over the years, certain film styles became unmistakably urban: the American film noir, the sophisticated Hollywood comedy, Italian neorealism, to name but a few.

In the Ibero-American region, which includes Portugal and Spain (according to the Spanish Royal Academy), cinema evolved alongside the cities, but in a different way to the Anglo-Saxon and French. On the one hand, the reality of each country was completely different. On the other hand, the exponential growth of large cities such as São Paulo, Mexico, Madrid, Lisbon, Lima or Buenos Aires led to the birth of a fast-paced economy that encouraged cinema in those countries. Brazilian, Mexican, Spanish and Argentinian cinema undoubtedly benefited from the momentum of their big cities.

Naturally, some fictional filmmakers have managed to consolidate their own image of the city. This is the case of Pedro Almodóvar’s Madrid, the Mexico of Luis Buñuel’s American period, Juan José Campanella’s Buenos Aires, or the suburbs and outskirts in Lucrecia Martel’s films… Sometimes a single film can shape the image of an entire city for decades, as in the case of: São Paulo, Sociedade Anônima (Luís Sérgio Person, 1965) or Cidade de Deus (Fernando Meirelles and Kátia Lund, 2002).

But it is not only feature-length fiction films that have offered creative representations of the cities inhabited by these communities. Also in non-fiction, the theme of the Ibero-American city has been essential on many occasions, for example, Lima in Metal y melancolía (Heddy Honigmann, 1993), Havana in Suite Habana (Fernando Pérez, 2003), Madrid in Mourir à Madrid (Frédéric Rossif, 1963) or the city of Santiago in La batalla de Chile, la lucha de un pueblo sin armas (Patricio Guzmán, 1975).

In the special issue Urban Spaces and Cinema. Ibero-American cities in film, the term ‘film’ is understood as a broad concept that encompasses all moving image creation processes: fiction and non-fiction films, series, short films and others. Therefore, the call is open to all forms, with special emphasis on the most marginal or experimental works such as the visions of Chilean cities and societies in the documentaries of Maite Alberdi, or the portaite of Seville in the video-guerrilla films of María Cañas.

In this context, the special issue Urban Spaces and Cinema. Ibero-American cities in the audiovisual field, is looking for audiovisual essays on the following topics:


  • The representation of Ibero-American cities in film (audiovisual) and their impact on urban identity. 
  • The use of Ibero-American cities as a film setting and the role of urban spaces in storytelling.
  • The relationship between urban development and the film industry.
  • The film representation of the different neighborhoods and socio-economic groups in Ibero-American cities.
  • The impact of digital technology on the filming of Ibero-American cities.
  • The role of independent and experimental cinema in the representation of Ibero-American cities.
  • The use of Ibero-American cities as a backdrop in films of different genres, such as action, science fiction or horror, and their contribution to the story.
  • The impact of globalization in the portrayal of Ibero-American cities in film.
  • The representation of the urban environment in the cinema of specific countries or regions.
  • The use of film as a tool for understanding and analyzing cities and urban problems.
  • City/countryside relations and cinema.
  • Other lines of research relevant to the proposed theme.

Student section in the special issue Urban Spaces and Cinema. Ibero-American Cities in the Audiovisual Field:


University teachers are invited to submit the best student work on the relationship between film and urban themes. We are aware that many teachers of Communication and Fine Arts have begun to use the audiovisual essay as a teaching tool, which is why, in this monograph, a section will be included to receive and evaluate the work of students, always following the criteria of Tecmerin. Journal of Audiovisual Essays.


This issue is the result of the project titled: “Audiovisual fiction in the Community of Madrid: filming locations and the development of film tourism”. Acronym: FICMATURCM. Ref: H2019/HUM5788. And from a research stay in ECA at the Universidade de São Paulo by Luis Deltell.


Instructions for authors:

Researchers and creators may send their audiovisual essays to one of the following sections: 

  1. Video-Essays: audiovisual essays that offer a critical take on diverse aspects of cinema, television and popular culture.
  2. Creators: experimental or documentary pieces that approach a specific cultural topic, as long as it is related to the history of audiovisual media.
  3. Specify if you are submitting your work for the dossier.

Video-Essays must be uploaded on VIMEO, as private. If this were not possible, contact us and we will offer an alternative. Each author will send the following information to this email: tecmerinrevista@uc3m.es

  1. Vimeo url address.
  2. Password for video.
  3. 500-800 word text, presenting the video in word format (also anonymous).
  4. Three-to-five (3-5) keywords.
  5. A video frame that could work as thumbnail.

Deadline: September 20

Videos cannot contain the name of the author to facilitate the blind peer review.

Language: Video essays can be in any language with Spanish or/and English subtitles.

Length: the preferred length of the video essays is 10-15 minutes, approximately.

Guidelines for the text of the audiovisual essay


The text must accompany the audiovisual essay and its purpose is to deepen, in a scientific manner, aspects of the piece, such as the theoretical background of the essay or the justification of the analysis. In no case should it be a transcription of the voice-over used in the video essay, and it should avoid reiterating the information seen in the audiovisual essay. 


The text should include: 

  1. Title of the piece (bold).
  2. Author and full affiliation
  3. Abstract (100-150 words)
  4. Keywords (between three and five, arranged in alphabetical order)
  5. Text (500-800 words)
  6. Bibliography (and filmography)


This text must establish a dialogue with other previous theoretical proposals, so it is necessary to reference the works it is based on. These references should appear as in-text citations and in a bibliography at the end of the text (which does not fall within the 500-800 word limit). It is also pertinent to add a filmography with the titles referred to in the text or used in the audiovisual essay. Thus, works that have not been cited in the body of the text should not appear in the list of references. 

It is also advisable to add a filmography with the titles referred to in the text. Both bibliographical and filmographic references must follow the APA rules (7th edition), which can be consulted in this document


Authors who publish an audiovisual essay will have to wait 1 year to publish again.

If you have any questions, do not hesitate to contact us at tecmerinrevista@uc3m.es

Tecmerin. Journal of Audiovisual Essays
ISSN: 2659-4269
© Grupo de Investigación Tecmerin
Universidad Carlos III de Madrid