Subjects -> ART (Total: 882 journals)
    - ART (468 journals)
    - DANCE (26 journals)
    - FILM AND AUDIOVISUALS (125 journals)
    - MUSIC (171 journals)
    - THEATER (92 journals)

FILM AND AUDIOVISUALS (125 journals)                     

Showing 1 - 120 of 120 Journals sorted alphabetically
1895. Mille huit cent quatre-vingt-quinze     Open Access   (Followers: 7)
24 images     Full-text available via subscription   (Followers: 2)
Acta Universitatis Sapientiae, Film and Media Studies     Open Access   (Followers: 3)
Adaptation     Hybrid Journal   (Followers: 9)
Ambitos     Open Access   (Followers: 1)
Aniki : Revista Portuguesa da Imagem em Movimento     Open Access  
Animation     Hybrid Journal   (Followers: 12)
Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe     Open Access   (Followers: 5)
Área Abierta     Open Access   (Followers: 2)
Asian Cinema     Hybrid Journal   (Followers: 3)
Baltic Screen Media Review     Open Access   (Followers: 1)
Bioscope: South Asian Screen Studies     Hybrid Journal   (Followers: 3)
Black Camera     Full-text available via subscription   (Followers: 8)
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production     Open Access  
Celebrity Studies     Hybrid Journal   (Followers: 13)
Ciné-Bulles : Le cinéma d’auteur avant tout     Full-text available via subscription   (Followers: 1)
CINEJ Cinema Journal     Open Access   (Followers: 7)
Cinema Journal     Full-text available via subscription   (Followers: 25)
Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies     Full-text available via subscription   (Followers: 5)
Con A de animación     Open Access   (Followers: 1)
Continuum: Journal of Media & Cultural Studies     Hybrid Journal   (Followers: 32)
Cuadernos de Cine Documental     Open Access  
East Asian Journal of Popular Culture     Hybrid Journal   (Followers: 6)
Entrelacs     Open Access  
Essais     Open Access  
Ética&Cine Journal     Open Access  
Film & History: An Interdisciplinary Journal of Film and Television Studies     Full-text available via subscription   (Followers: 36)
Film Criticism     Open Access   (Followers: 4)
Film History     Full-text available via subscription   (Followers: 26)
Film International     Hybrid Journal   (Followers: 15)
Film Matters     Hybrid Journal   (Followers: 12)
Film Studies     Full-text available via subscription   (Followers: 8)
Film, Fashion & Consumption     Hybrid Journal   (Followers: 9)
Film-Philosophy Journal     Open Access   (Followers: 9)
FILMHISTORIA Online     Open Access   (Followers: 2)
Fotocinema : Revista Científica de Cine y Fotografía     Open Access   (Followers: 5)
Framework : The Journal of Cinema and Media     Full-text available via subscription   (Followers: 19)
French Forum     Full-text available via subscription   (Followers: 9)
French Screen Studies     Hybrid Journal   (Followers: 1)
Genre en séries. Cinéma, télévision, médias     Open Access  
Getty Research Journal     Full-text available via subscription   (Followers: 4)
Historical Journal of Film, Radio and Television     Hybrid Journal   (Followers: 27)
Hitchcock Annual     Full-text available via subscription  
Horror Studies     Hybrid Journal   (Followers: 6)
Image & Narrative     Open Access   (Followers: 6)
Images : The International Journal of European Film, Performing Arts and Audiovisual Communication     Open Access   (Followers: 3)
Inside Film: If     Full-text available via subscription   (Followers: 5)
International Journal of Image Mining     Hybrid Journal   (Followers: 1)
International Journal of Multimedia Intelligence and Security     Hybrid Journal   (Followers: 9)
International Journal of Screendance     Open Access   (Followers: 1)
Jeunesse: Young People, Texts, Cultures     Full-text available via subscription   (Followers: 4)
Journal of Adaptation in Film & Performance     Hybrid Journal   (Followers: 7)
Journal of African Cinemas     Hybrid Journal   (Followers: 2)
Journal of Anthropological Films     Open Access  
Journal of British Cinema and Television     Hybrid Journal   (Followers: 13)
Journal of European Popular Culture     Hybrid Journal   (Followers: 10)
Journal of Film and Video     Full-text available via subscription   (Followers: 21)
Journal of Italian Cinema and Media Studies     Hybrid Journal   (Followers: 5)
Journal of Japanese and Korean Cinema     Hybrid Journal   (Followers: 4)
Journal of Media Ethics : Exploring Questions of Media Morality     Hybrid Journal   (Followers: 14)
Journal of Popular Film and Television     Full-text available via subscription   (Followers: 33)
Journal of Religion & Film     Open Access   (Followers: 9)
Journal of Religion and Popular Culture     Full-text available via subscription   (Followers: 20)
Journal of Scandinavian Cinema     Hybrid Journal   (Followers: 2)
Journal of Screenwriting     Hybrid Journal   (Followers: 5)
Kino : The Western Undergraduate Journal of Film Studies     Open Access   (Followers: 4)
L'Atalante : Revista de estudios cinematográficos     Open Access  
L'Esprit Créateur     Full-text available via subscription   (Followers: 2)
LiNQ (Literature in North Queensland)     Open Access  
Mechademia     Full-text available via subscription   (Followers: 2)
Metro Magazine: Media & Education Magazine     Full-text available via subscription   (Followers: 3)
Mise au Point     Open Access   (Followers: 1)
Modernist Cultures     Hybrid Journal   (Followers: 6)
Moving Image Review & Art Journal     Hybrid Journal   (Followers: 4)
Music and the Moving Image     Full-text available via subscription   (Followers: 6)
New Cinemas Journal of Contemporary Film     Hybrid Journal   (Followers: 15)
New Soundtrack     Hybrid Journal   (Followers: 2)
Nineteenth Century Theatre and Film     Full-text available via subscription   (Followers: 9)
Northern Lights     Hybrid Journal   (Followers: 2)
October     Hybrid Journal   (Followers: 17)
Panoptikum     Open Access  
Projections     Full-text available via subscription   (Followers: 4)
Quarterly Review of Film and Video     Hybrid Journal   (Followers: 20)
Rocky Mountain Review     Full-text available via subscription   (Followers: 1)
S : Journal of the Circle for Lacanian Ideology Critique     Open Access  
Scene     Hybrid Journal   (Followers: 2)
Schermi. Storie e culture del cinema e dei media in Italia     Open Access  
Science Fiction Film and Television     Hybrid Journal   (Followers: 16)
Screen Bodies : An Interdisciplinary Journal of Experience, Perception, and Display     Full-text available via subscription  
Screen Education     Full-text available via subscription   (Followers: 1)
Secuencias. Revista de Historia del Cine     Open Access  
Senses of Cinema     Open Access   (Followers: 10)
Séquences : La revue de cinéma     Full-text available via subscription  
Shakespeare Bulletin     Full-text available via subscription   (Followers: 15)
Short Film Studies     Hybrid Journal   (Followers: 3)
SMPTE Motion Imaging Journal     Full-text available via subscription   (Followers: 2)
Social Interaction : Video-Based Studies of Human Sociality     Open Access   (Followers: 1)
Sound Studies : An Interdisciplinary Journal     Hybrid Journal  
Studies In Australasian Cinema     Hybrid Journal   (Followers: 2)
Studies in Documentary Film     Hybrid Journal   (Followers: 15)
Studies in Eastern European Cinema     Hybrid Journal   (Followers: 1)
Studies in European Cinema     Hybrid Journal   (Followers: 6)
Studies in French Cinema     Hybrid Journal   (Followers: 12)
Studies in Russian and Soviet Cinema     Hybrid Journal   (Followers: 3)
Studies in South Asian Film & Media     Hybrid Journal   (Followers: 2)
Studies in Spanish & Latin American Cinemas     Hybrid Journal   (Followers: 9)
Studies in World Cinema     Full-text available via subscription  
The Big Picture Magazine     Hybrid Journal  
The Journal of Film Music     Full-text available via subscription   (Followers: 4)
The Moving Image     Full-text available via subscription   (Followers: 5)
The Soundtrack     Hybrid Journal   (Followers: 1)
The Velvet Light Trap     Full-text available via subscription   (Followers: 7)
Toma Uno     Open Access   (Followers: 1)
Transnational Screens     Hybrid Journal   (Followers: 1)
Trasvases Entre la Literatura y el Cine     Open Access  
Ventana Indiscreta     Open Access  
Visual Culture in Britain     Hybrid Journal   (Followers: 5)
VMIDEA     Open Access  
Wave Motion     Hybrid Journal   (Followers: 5)
WSQ: Women's Studies Quarterly     Full-text available via subscription   (Followers: 15)

           

Similar Journals
Journal Cover
The Journal of Film Music
Number of Followers: 4  
 
  Full-text available via subscription Subscription journal
ISSN (Print) 1087-7142 - ISSN (Online) 1758-860X
Published by Equinox Publishing Homepage  [28 journals]
  • Proceedings of “Max Steiner Man and Myth,” California State
           University, Long Beach, February 24–25, 2018

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      Authors: Nathan Platte
      Pages: 5 - 7
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.22175
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Theme Songs without Words

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      Authors: William H. Rosar
      Pages: 8 - 22
      Abstract: When Max Steiner arrived at RKO Studios in late December 1929, he came as a seasoned Broadway conductor and arranger to work on musicals. Applying the art and craft of song arranging from musical comedies on the Broadway stage to so-called “theme songs” that were sung in dramatic films in the early talkies, he developed what came to be known as “the big theme” in Hollywood Golden Age film scoring parlance in which a song-like theme was featured instrumentally as background music rather than sung on screen. In conjunction with this practice, Steiner and his Hollywood cohorts continued and adapted the existing dramatic techniques of silent film accompaniment to “talking pictures,” which, because of music playing under dialog, was given the name “underscoring.”
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.21422
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Fanning out from the Fanfare

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      Authors: Brent Yorgason, Jeff Lyon
      Pages: 43 - 53
      Abstract: In 1937, Max Steiner created a fanfare for Warner Bros. to accompany the appearance of the WB shield at the beginning of each film. The fanfare made its first appearance in Tovarich, using bits and pieces from the opening themes of A Star is Born and First Lady. The C major setting of the fanfare in Gold is Where You Find It (1938) became the “canonical” version to which Steiner most frequently referred. From 1937 to 1951 it was used by Steiner and other Warner Bros. composers to open nearly every film. After 1951, Steiner began using the fanfare much less frequently, with its final appearance occurring in Battle Cry (1955).
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.38103
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Max Steiner and Extended Tonality

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      Authors: Jordan Camalt Stokes
      Pages: 54 - 68
      Abstract: Since the revitalization of film music studies in the 1980s, the field has been dominated by musicological approaches, with music theory and analysis taking a back seat. As a result, film music scholars lack a common set of techniques for grappling with the harmony, rhythm, form, and melody of film music cues. But this situation is beginning to change: recent research by Frank Lehman and Scott Murphy offers powerful new tools for thinking about film music harmony. The purpose of this essay is to test the systems developed by these theorists against the music of Max Steiner, hopefully contributing to the development of a share analytical vocabulary for film music, and deepening our understanding of Steiner’s compositional technique.
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.20935
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Music, Magic, and Humor

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      Authors: Stephen Butler
      Pages: 69 - 79
      Abstract: If you are a student of film music researching the life and work of Max Steiner, there are some things you should know, especially if you are working from a country other than the United States. In 2006–2007, my wife Jane and I traveled to three of the cities with which Steiner is most closely associated (Vienna, London, and Los Angeles) and visited Brigham Young University (BYU) in Provo, Utah, where the composer’s personal papers have been stored since 1981. This article details those journeys, taken in a strange parallel to Steiner’s own. These include Steiner’s experiences as a child prodigy from an established theatrical family in Vienna; conducting in London and the United Kingdom’s theatrical circuit; a career on Broadway, working with Victor Herbert, George Gershwin, Fred Astaire, and many other theatrical legends; and his final, thirty-five-year career as one of the founding fathers of modern film composition in Hollywood. Furthermore, the internet has made many more materials available to the scholar, including BYU’s developing online thematic catalogue. The “net” result is that future students will have an incredible amount of material available to them, much more than those of just thirty years ago.
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.38272
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Max Steiner’s Jewish Identity and Score to Symphony of Six Million
           (1932)

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      Authors: Aaron Fruchtman
      Pages: 80 - 93
      Abstract: Max Steiner was one of a significant group of Jewish composers who flourished during Hollywood’s Golden Age. Steiner’s Jewish heritage is rarely discussed in connection with his film music. However, his original underscore for Symphony of Six Million (1932) is revealing. In this essay, I consider how Steiner dealt with Jewish identity when presenting an “insider’s view” of the Lower East Side to a mainstream American audience. Steiner may have used Jewish musical materials for “local color” in a manner typical of evocations of musical exoticism in Hollywood. While aspects of this score border on melodramatic pastiche, a searching analysis reveals that Steiner drew from Jewish sacred and secular musical materials to create a trenchant, intertextual context. Steiner’s relationship to his Jewish identity is enigmatic. The Steiner family envisioned themselves as completely assimilated and thoroughly Viennese. Even so, one could not help but have a Jewish identity in fin de siècle Vienna. Steiner’s words, music, and philanthropy reveal a complex Jewish identity.
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.20936
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Was Max Steiner a Jew'

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      Authors: Jonathan L. Friedmann
      Pages: 94 - 106
      Abstract: Max Steiner is regularly identified as a “Jewish composer” despite his protests to the contrary. Others claim he had a crisis of Jewish identity: although he did not explicitly embrace his Jewish lineage, his allegiance was expressed through charitable giving and his score for A Symphony of Six Million (1932). Both assumptions deny Steiner the agency of self-definition. This paper seeks to differentiate between the passive category “Jew” and the active adjective “Jewish,” and between the social climates of Vienna and Hollywood, which informed Steiner’s self-understanding.
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.20942
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Composing Himself

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      Authors: Nathan Platte
      Pages: 107 - 120
      Abstract: The beginning of Steiner’s Hollywood career is typically overlooked in studies of the composer, in part because scrutiny of his work hinges on film scores attached to celebrated films. This article argues that Steiner’s initial years are vital in understanding how a former Broadway music director exploited musical opportunities in Hollywood to develop a new career profile grounded in composition. Through his eclectic labors at RKO Radio Pictures and his connections with commentators in the trade press, Steiner formed a new and necessary position that extended beyond the arranging of numbers for musicals to the composition of incidental music for films of various genres.
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.21421
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Max Steiner

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      Authors: Roger Hickman
      Pages: 121 - 127
      Abstract: Max Steiner provided music for over 300 films during a distinguished career that extended over three decades. He is justifiably celebrated for his scores in multiple film genres, including historical epics, romances, horror movies, and dramas. Less well known are Steiner’s contributions to film noir. Yet he is a leading composer for this dark trend in Hollywood filmmaking. Three factors go into this assessment: the number of noir films that he scored, the prestige of those films, and the overall quality of his music. The span of Steiner’s noir composition is nearly identical to that of the era itself, which is generally defined as 1940–1959. Depending on which films are viewed as film noirs, Steiner is the third or fourth most prolific composer for the genre. Among these are classics such as Mildred Pierce, The Big Sleep, Key Largo, and White Heat, a roster of noir heavies unmatched by any other composer. For the most part, his music for these films consistently reflects traits that we associate with Steiner’s other film scores. This overview focus on two qualities in these films: the use of pre-composed music and thematic material as characterization. Included in this survey are Steiner’s scores for Mildred Pierce, The Woman in White, The Beast with Five Fingers, City for Conquest, and The Death of a Scoundrel.
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.20238
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Composing, Casablanca, and the Film Music of the Golden Age

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      Authors: Peter Wegele
      Pages: 132 - 144
      Abstract: Max Steiner was one of the most productive composers in the history of film music. In 1939, for example, he composed twelve scores for feature films, including his magnum opus, Gone with the Wind. Steiner was under constant pressure to meet studio deadlines, yet he always managed to deliver his scores on time. Even during his busiest years, under an enormous workload, Steiner achieved remarkable consistency in the quality of his music. In order to explain the method behind Max Steiner’s ability to work quickly while maintaining high artistic standards, this article will discuss his working routine and will analyze a brief excerpt of his music for the classic film, Casablanca.
      PubDate: 2022-02-24
      DOI: 10.1558/jfm.22179
      Issue No: Vol. 9, No. 1-2 (2022)
       
  • Cataloging Max Steiner

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      Authors: Jeff Lyon, Brent Yorgason
      Pages: 23 - 42
      Abstract: The Max Steiner corpus study is a long-term research project, drawing on the Max Steiner Collection at Brigham Young University, to catalog and analyze the music from all of Steiner’s film scores. This paper outlines the goals, processes, and potential future outcomes of this research. One of the main research goals of this project is to discover what kinds of melodies, harmonies, rhythms, and instruments Steiner used to represent different emotions and character types. Because of the amount of data needed to understand each of these elements thoroughly, this type of analysis can best be done through a corpus study. This data will be published as an interactive database that will allow the user to explore themes as they develop throughout a film as well as discover related themes in other film scores by Steiner. Transcriptions of themes will be displayed with Steiner’s annotations, film stills, and analytical data. This paper presents our findings to date and our plan to analyze, transcribe, and catalog the remaining films.
      PubDate: 2021-02-26
      DOI: 10.1558/jfm.19159
      Issue No: Vol. 9, No. 1-2 (2021)
       
  • An Austrian in Hollywood

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      Authors: Charles Francis Leinberger
      Pages: 128 - 131
      Abstract: When interviewed about film music, John Williams is often quick to credit Max Steiner as the originator of the leitmotif technique in film music. Steiner brought with him to the U.S. the compositional techniques he learned as a child prodigy in Europe, including the leitmotif technique. This paper will discuss Steiner’s use of leitmotifs in his Academy Award winning score to the 1942 Warner Bros. film Now, Voyager. Film musicologists disagree on the relevance of themes being heard in different keys throughout a film score and their possible effect on the audience. I intend to demonstrate that, although the significance of these key relationships may only exist on a subconscious level, they do contribute in a meaningful way to the viewing/listening experience. To demonstrate this, I will use examples of “Charlotte’s Theme,” also known as the “Love Theme,” which appears in various keys throughout the film. The key relationships are clearly intentional and well thought out by Steiner. This theme, which is almost always in triple meter, was recorded in 1943 by Allen Miller and his Orchestra as a pop tune, in quadruple meter, with the title “It Can’t Be Wrong.” Steiner plagiarizes himself when this instrumental version is heard as source music in the 1945 Warner Bros. film Mildred Pierce. Vocal versions, including one recorded by Frank Sinatra, include lyrics by Kim Gannon. This version was also sung in the Star Trek: Voyager episode “The Killing Game, Part 1.”
      PubDate: 2021-03-08
      DOI: 10.1558/jfm.19071
      Issue No: Vol. 9, No. 1-2 (2021)
       
  • Deflating Fascism in Max Steiner’s Score for The Most Dangerous Game

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      Authors: Michael Lee
      Pages: 145 - 154
      Abstract: This article examines Max Steiner’s original score for the 1932 RKO Production of The Most Dangerous Game. Steiner’s score quotes from a piece of piano music, “Russian Waltz,” which he composed for the film’s villain, Count Zaroff, to play within the film’s diegesis. His vast orchestral underscore liberally quotes the main motif of his piano work. Using a hermeneutic approach, the article argues that Steiner’s orchestral underscore reinforces the film’s anti-fascist narrative potentials by linking Count Zaroff’s motif to his enterprise of hunting human beings and specifically to the sexual satisfaction the Count draws from his gruesome fetish. The motif itself undergoes a myriad of expansions and contractions, intensifications and relaxations, charting the ups and downs of Zaroff’s fortunes. Based on archival research, hermeneutic analysis, and a close reading of both the film and its source material, the article concludes that Steiner participated in crafting an anti-fascist film at a signal moment in history.
      PubDate: 2021-03-08
      DOI: 10.1558/jfm.19009
      Issue No: Vol. 9, No. 1-2 (2021)
       
  • Tobias Pontara, Andrei Tarkovsky’s Sounding Cinema: Music and Meaning
           from Solaris to The Sacrifice

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      Authors: Raymond De Luca
      Pages: 155 - 157
      Abstract: Tobias Pontara, Andrei Tarkovsky’s Sounding Cinema: Music and Meaning from Solaris to The Sacrifice
      Abingdon, UK. Routledge, 2020. [206pp. ISBN: 9780367277291. $124.00 (hardback)]. Musical examples, photos, bibliography, index.
      PubDate: 2021-02-12
      DOI: 10.1558/jfm.18254
      Issue No: Vol. 9, No. 1-2 (2021)
       
  • Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders
           of the Lost Ark, and the Return of the Classical Hollywood Music Style

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      Authors: Grace Edgar
      Pages: 158 - 163
      Abstract: Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style
      Madison, WI: University of Wisconsin Press, 2014. [xxvi, 317pp. ISBN: 9780299297343. $124.00 (hardback)]. Illustrations, musical examples, scores, bibliography, index.


      Daniel Goldmark and Kevin C. Karnes, eds., Korngold and His World
      Princeton, NJ: Princeton University Press, 2019. [353pp. ISBN: 9780691198293. $35.00 (paperback)]. Index.
      PubDate: 2021-02-15
      DOI: 10.1558/jfm.18256
      Issue No: Vol. 9, No. 1-2 (2021)
       
  • Erik Heine: James Newton Howard’s Signs: A Film Score Guide

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      Authors: Ben Erickson
      Pages: 164 - 165
      Abstract: Erik Heine: James Newton Howard’s Signs: A Film Score Guide
      Lanham, MD: Rowman & Littlefield, 2016. [228pp. ISBN: 9781442256040. CAD66.89 (Kindle Edition)]. Scarecrow Film Score Guides, no. 17. Musical examples, filmography, bibliography, index.
      PubDate: 2021-02-12
      DOI: 10.1558/jfm.17657
      Issue No: Vol. 9, No. 1-2 (2021)
       
  • John Haines, Music in Films on the Middle Ages: Authenticity vs. Fantasy

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      Authors: Melanie Shaffer
      Pages: 166 - 168
      Abstract: John Haines, Music in Films on the Middle Ages: Authenticity vs. Fantasy
      New York and London. Routledge [xvii, 229pp. ISBN: 9780415824125. $160.00 (hardback)]. Routledge Research in Music. Figures, tables, preface, endnotes, bibliography, filmography, index.
      PubDate: 2021-05-06
      DOI: 10.1558/jfm.19950
      Issue No: Vol. 9, No. 1-2 (2021)
       
 
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