Call for Chapters: Studies on Cinematography and Narrative in Film: Sequels, Serials, and Trilogies


Emre Seçmen, Beykoz University, Turkey

Call for Chapters

Proposals Submission Deadline: December 24, 2023
Full Chapters Due: February 11, 2024
Submission Date: February 11, 2024


The concept of cinematography consists of many visual and auditory design elements such as camera use, editing, space design, mise-en-scene, costume, make-up, composition, effects, sound and directing. Narrative, on the other hand, creates a schema and sequence on how to visualize a film in the form of a script. The ideas of many theorists on cinema narrative, starting from Aristotle and extending to Vladimir Propp, Carl Gustav Jung, Joseph Campbell, Christopher Vogler, Julien Algirdas Greimas, are instructive. Their analysis is also a map for the candidates who will construct the narrative. The first film series shot as a continuation in the history of cinema is the Sherlock Holmes films shot shortly after the invention of cinema. This series, which started with Sherlock Holmes I (Viggo Larsen, 1908), continued until 1910 with a total of 6 films produced by the same director. “Making a sequel wasn't something Hollywood used very often until the late 1970s. With the development of popular culture, the number of applications for sequels has gradually increased; With the Oscar for The Godfather, a 1972 Francis Ford Coppola movie, the sequel of this movie was also encouraged” (Göral, 2003, p.105-106). There are many elements in the concept of visual continuity and they are all interrelated. In films or film series that are described as sequels, establishing a visual integrity relationship between films comes to the fore. The concept of the sequel appears in two ways. Sometimes, while the ideas are scripted, the story is divided into more than one part. Sometimes the story is planned as a single movie, and after a certain time, it can be realized as a follow-up movie/films for different reasons. In both systems of expression, it is necessary to seek harmony between all elements of visual design. The most important design element in the sequels is the space itself. Indiana Jones returns to school with each new movie, but also shows us new mysterious locations. In Star Wars, new planets are always appearing 'in a galaxy far far away'; Alien features the ramshackle spaceship and the same creature on board. While Mad Max takes the place of dystopian plains, Jurassic Park tirelessly shows us a dinosaur island with steep slopes at the opening of each movie. “In classical styles of continuity, space is a fixed and rigid container that remains the same no matter what happens in the narrative; even when the chronology of the film is mixed with flashbacks, time flows at a linear and uniform rate” (Shaviro, 2021, p.67). Regardless of how these spaces are designed, real or artificial, they exist to relive the past pleasure of an audience watching a sequel. But there are also different ideas about visual continuity. Continuity in all elements may not be achieved with complete commitment to the essence. “From Jacques Derrida's perspective, a complement (in our case it is the complementary cinema itself) is never unconditionally or seamlessly articulated with the main term it serves as an auxiliary or a supplement” (Denson & Leyda, 2021, p.25) . In reaching this conclusion, it is necessary to mention Bordwell's ideas. Bordwell (2010), in a study investigating the format, proves that the transitions between images are faster, especially in cinema after 1995, where computer aided images increased, and argues that the changes made in image design, editing and effects are correct and serve the main purpose as a perception orientation. In Bordwell's article Intensified Continuity, it is stated: Even the flamboyant camera movements, flamboyant editing and special effects of the condensed style still serve the same ultimate purpose as classical narration; to make the audience understand the story and surrender to the impressiveness of the story” (Bordwell, 2010, p. 148). Another researcher, Steven Shaviro (2021), defined Bordwell's concept of 'condensed continuity' as 'post-continuity' by reading through the continuity of effects, and criticizing the film production formed in this way as 'chaos cinema'. “The importance of the instantaneous impact created by the effects overcame the concerns of continuity both in the sequencing of the frames and at the overall narrative level” (Shaviro, 2021, p.59). Narratively, reintroducing characters from the first movie/s (Marion Ravenwood, who reappeared 18 years later in Indiana Jones), re-framing of an animatronically created animal or creature (T-Rex or Alien in Jurassic Park), different using transitions between images and flowing text in the introduction (Star Wars), creating a hero or enemy that instills invincibility with different types of visual effects (Terminator and T-1000 characters in Terminator) will be the main visual decisions expected from a sequel. Cinema critic Burak Göral (Göral, 2003, pp.115-116) answers the questions of how a good sequel is and how to make sequels as follows: “What would a good sequel look like? - In the sequel, one more step should be taken to recognize the personality of the main character in the first movie. The new movie should take the audience a bit further to get to know the main character a little better. - Similar scenes (situations) from the first movie should not be remade this time with new characters. - The first movie should be in a structure suitable for the sequel. Characters should be able to carry a second movie. If not, the movie will be a forced sequel. - The main character should not act in the second movie that contradicts the character drawn in the first movie. You should go through the same character traits. - If possible, the scriptwriter or director of the sequel should be the same as that of the source movie. Because if the event is left only to the producer of the first film, bad ideas that harm the first film in the name of being commercial emerge. - When you give the audience a sequel, you commit to give the audience at least as much pleasure as in the first movie. Therefore, it should bear similarities with the first film, from its poster, logo, credits to advertising strategies. How are sequels made? - The original title logos of the sequels must retain their character in each film. The logo and opening credits of the movie should be similar or identical to the original movie in order not to alienate the audience and to promise that they will enjoy the sequel as well. - Names are indicated either with numbers such as 2,3,4,… or using Roman numerals. Most have a descriptive extra name. ("Cocon: The Return", "A Nightmare on Elm Street 2: Freddy's Revenge") Another factor in ensuring visual continuity is the creative team of the film. If the sequel is being shot by another director or producer, it becomes even more important. In the history of cinema, there are many sequels that are made on the axis of 'bespoke' when appropriate, and when it comes to giving a new perspective. For example, after Disney bought all the rights of Star Wars, there is a visual integrity problem in the third trilogy, which was completed in 2015-2019 in Disney production. The original creator was out and Disney had these projects shot by different directors. “The third trilogy has been a series that remains connected to the root of the universe, but does not make a serious contribution to the universe in terms of story depth” (Seçmen, 2020, p.508). However, Batman, the DC Comics superhero shot by many directors both as a single movie and as sequels, has been visualized with a different interpretation in the hands of many directors. In the Batman (Batman, 1989 & 1992) series consisting of two films, Tim Burton fictionalizes the character in a more fairy-tale way and in accordance with his own fantasy world; director Christopher Nolan's trilogy of films Batman Begins (Batman Begins, 2005), The Dark Knight (The Dark Knight, 2008) and The Dark Knight Rises (The Dark Knight Rises, 2012) set Batman in a darker Gotham city and a tough character. as it presents. The trilogy is a product that is visually different from the other Batman films, but riveted its visual continuity as a trilogy with a strong design. This comes from director Nolan's desire to reveal his perspective and personal signature. REFERENCES Bordwell, D., (2010). Condensed Continuity Editing: Visual Style in Contemporary American Cinema (Trans. Y. G. Topçu). S. Büker & Y. G. Topçu (Ed.), Cinema: History-Theory-Criticism (pp. 137-168). Istanbul: Red Cat Publications. Denson, S., Leyda, J. (2021). Reflections on Post-Cinema: Introduction (Trans. P. Fontini). S. Denson & J. Leyda (Ed.), Post-Cinema Theorizing of 21st Century Cinema (pp. 13-30). Istanbul: Notabene Publications. Göral, B. (2003). Hollywood from Burak's Camera (1st Edition). Istanbul: Plato Film Publishing. Seçmen, E. A. (2020). Dijitalin Sineması (1st Edition). Istanbul: Doruk Publications. Shaviro, S. (2021). Post-Continuity: Introduction (Trans. P. Fontini). S. Denson & J. Leyda (Ed.), Post-Cinema Theorizing of 21st Century Cinema (pp. 59-72). Istanbul: Notabene Publications.


Book chapter topics should be on the axis of analysis examining the sequels / serial films and trilogies on the axis of Cinematography and Narrative. After the clarification of the side details about the sample and content you intend to work on, we can contact me at any time and exchange ideas to clarify the section.

Target Audience

This study aims to appeal to all readers who will be interested in the subject, especially cinema students and academics.

Recommended Topics

In the first editorial work, Examinations and Analysis of Sequels and Serials in the Film Industry, Evil Dead, The Matrix, Planet of The Apes, Nolan's Batman Trilogy, Avatar, 28 Days & 28 Weeks Later, Star Wars, Rocky, Ocean's, Harry Potter, Jurassic Park, Blade Runner cinematographic and narrative analyzes are included. In this new project, completely different content will be included from the first one. As a chapter writer in the book, it will be possible to write chapters on the examples in the list below, including the main axes of cinematography and narrative. TOY STORY THE TERMINATOR 1-2 BEFORE SUNRISE & MIDNIGHT & SUNSET A NIGHTMARE ON ELM STREET SHERLOCK HOLMES I-II INCREDIBLES I & II POLANSKI Apartment Trilogy HALLOWEEN JOHN WICK LARS VON TRIER'S trılogy HELLBOY SCREAM THE BOURNE TWILIGHT THREE COLOURS: BLUE & WHITE & RED FRANKENSTEIN & BRIDE OF FRANKENSTEIN KILL BILL I & II TRAINSPOTTING & T2 TRAINSPOTTING A FISTFUL OF DOLLARS & FOR A FEW DOLLARS MORE & THE GOOD THE BAD AND THE UGLY BLADE JAWS SPIDER-MAN TRANSFORMERS SYMPATHY FOR MR. VENGEANCE & OLD BOY & LADY VENGEANCE

Submission Procedure

Researchers and practitioners are invited to submit on or before December 24, 2023, a chapter proposal of 1,000 to 2,000 words clearly explaining the mission and concerns of his or her proposed chapter. Authors will be notified by January 12, 2023 about the status of their proposals and sent chapter guidelines.Full chapters are expected to be submitted by February 11, 2024, and all interested authors must consult the guidelines for manuscript submissions at prior to submission. All submitted chapters will be reviewed on a double-blind review basis. Contributors may also be requested to serve as reviewers for this project.

Note: There are no submission or acceptance fees for manuscripts submitted to this book publication, Studies on Cinematography and Narrative in Film: Sequels, Serials, and Trilogies. All manuscripts are accepted based on a double-blind peer review editorial process.

All proposals should be submitted through the eEditorial Discovery® online submission manager.


This book is scheduled to be published by IGI Global (formerly Idea Group Inc.), an international academic publisher of the "Information Science Reference" (formerly Idea Group Reference), "Medical Information Science Reference," "Business Science Reference," and "Engineering Science Reference" imprints. IGI Global specializes in publishing reference books, scholarly journals, and electronic databases featuring academic research on a variety of innovative topic areas including, but not limited to, education, social science, medicine and healthcare, business and management, information science and technology, engineering, public administration, library and information science, media and communication studies, and environmental science. For additional information regarding the publisher, please visit This publication is anticipated to be released in 2025.

Important Dates

December 24, 2023: Proposal Submission Deadline
January 12, 2023: Notification of Acceptance
February 11, 2024: Full Chapter Submission
April 14, 2024: Review Results Returned
May 26, 2024: Final Acceptance Notification
June 9, 2024: Final Chapter Submission


Emre Seçmen Beykoz University


Media and Communications; Social Sciences and Humanities
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