Ends on May 4, 2018

For our fifth anniversary issue, we've decided to focus in on what we love most. 

With that in mind, we're looking for essays on films about or adjacent to the entertainment business—movies about movies, backstage musicals, showbiz dramas, and documentaries about movies—in the hopes of putting together an issue that pays tribute to this medium that we all love and obssess about so deeply.

In particular, we're looking for essays on the following films:

Movies about Movies

Adaptation, Cinema Paradiso, 8 1/2, Boogie Nights, Hail Caesar, Hugo, Bird Man, Tropic Thunder, Sullivan’s Travels, Sunset Boulevard, The Player, Day for Night, Alex in Wonderland, Sherlock Jr., Inland Empire, The Aviator, Hollywood Shuffle, Living in Oblivion, Argo, The Disaster Artist, La La Land, Clouds of Sils Maria, Irma Vep, Knight of Cups, Three Amigos, State and Main, Tootsie, Ed Wood, Bowfinger.

Backstage Musicals & Showbiz Dramas

Singin’ in the Rain, 42nd Street, All That Jazz, Footlight Parade, A Star is Born (1954 or 1976 or both!), Cabaret, A Chorus Line, Gypsy, Kiss Me Kate, All About Eve, What Ever Happened to Baby Jane?, To Be or Not To Be (1942), Waiting for Guffman, Me and Orson Welles, My Week with Marilyn, Opening Night,


Heart of Darkness, Cameraperson, VIsion of Light, Burden of Dreams, American Movie, The Story of Film, Life Itself, The Kid Stays in the Picture

As always, we’re looking for thoughtful analysis and wholehearted engagement, as opposed to standard reviews, clickbait, or hot takes. We publish interviews, profiles, formal analysis, cultural criticism, personal essays, and humor pieces. We are looking for writing that is both savvy and insightful about filmmaking, but that also grapples in some way with the business of being alive. We tend to publish critical essays between 1500-3000 words, though we’ve certainly been known to publish pieces in other, longer formats. Creative approaches are always encouraged. 

Additionally, before selecting a film to write about, please search our site first, as we tend not to publish anything on any film/show that we have covered within the past year.  

If you haven’t written for us before and want to know more about the submission process, or if you have a few different ideas and aren’t sure which one to pursue, please feel free to email the editorial team (editors@brightwalldarkroom.com) prior to the submission deadline with any pitches or questions. Please consult our site for additional information: http://brightwalldarkroom.com/submissions/.  

In order to be considered for the issue, we’ll need to receive a first draft of your essay by May 4, 2018. 

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