A Dual Critical Identity
On occasion, we find ourselves at film events where otherwise wellinformed cinephiles—or even fellow critics and journalists—will confront us with the rather startling question: “Cineaste, isn’t that a Website?” We speedily reply that although Cineaste has been publishing a print magazine for more than fifty years, we also have an online adjunct that’s been thriving for more than a decade.
Yet, despite our enthusiasm for glossy paper and ink, we certainly don’t believe that the Cineaste Website is a poor stepchild of the print edition. It’s important, however, to emphasize that our status as a journal published by an all-volunteer staff necessitates a slightly against-the-grain approach to operating an online corollary. Unlike most commercial film sites, for example, we are not interested in reviews of current movies that function largely as clickbait.
Rather, since its debut in 2006, our Website has served as an outlet for long-form film journalism that allows writers a greater amount of space to develop complex ideas than is possible in other Internet venues that are dependent on posting “hot takes” that might take advantage of transient “buzz” but prove irrelevant a few days later.
A number of our in-depth online features have become seminal, oft-cited prototypes of the sort of alternative journalism that can thrive, with the requisite amount of altruism, on the Internet. For example, Marco Abel’s “Intensifying Life: The Cinema of the Berlin School,” posted in 2008, provides an extremely useful overview of a vibrant German film movement that spawned important directors such as Christian Petzold and Valeska Grisebach. A 2014 Web Exclusive, Alexandra Juhasz and Ted Kerr’s “Home Video Returns: Media Ecologies of the Past of HIV/AIDS” is a wide-ranging conversation between two scholars that gravitates from a dissection of the flaws of Dallas Buyers Club’s Hollywoodized depiction of AIDS sufferers to a detailed treatment of the far different approach to this subject in a copious number of activist AIDS videos.
In 2008, our Critical Symposium, “Film Criticism in the Age of the Internet” (which appeared both in print and on the Website), and our 2013 Critical Symposium, “Film Criticism: The Next Generation” (which appeared in abbreviated form in print and more extensively online), solicited viewpoints from a wide array of critics and endeavored to compare the realm of traditional print criticism with the emerging New Media landscape of blogs and online criticism. A complete year-by-year archive of these and other Web Exclusives—including feature articles and interviews, film, book, and video reviews, festival reports, and much more—can be found online.
The current edition of the Website continues our commitment to focusing on relatively unexplored terrain within the realm where film and politics converge. Clarence Tsui’s article on the “Other 1968s” in cinema goes beyond the familiar cinematic signposts of the May ’68 events in Paris and turmoil at the Chicago Democratic Convention to zero in on how radical political currents were also evident in films from India, Syria, Lebanon, and Palestine during that epochal year. An interview with the outspoken Canadian director Bruce LaBruce reveals how Wilhelm Reich and Herbert Marcuse’s critique of conventional sexual mores influenced his recent film The Misandrists, a campy reinvention of Don Siegel’s The Beguiled that both parodies, and pays tribute to, lesbian separatism. Jared Rapfogel’s Communiqué from the Oberhausen International Short Film Festival, Jonathan Murray’s report from the Thessaloniki International Film Festival, and Dennis West’s from the Seattle International Film Festival reassert our interest in providing glimpses of international cinema to readers who might not have the resources or time to travel the globe visiting festivals. For many years, our festival coverage has appeared on the Website—a decision that enables our editors and contributing writers to post comprehensive analyses of the cutting edge of film culture from festivals in Asia, Latin America, and Europe, as well as North America.
Several years ago, our Web Director Jessica Lee executed a complete redesign of the Website, with improved typography for better readability, new navigation tools, an im proved search function, and a responsive layout with expandable high-resolution images that adjusts to the type of device on which it is viewed. The visual experience of visiting www.cineaste.com is now as pleasurable as its content.
As we strive to make the Cineaste Website an invaluable destination for cinephiles, we welcome comments from our readers. Please feel free to tell us what you find worthwhile about our site, or how you believe it might be improved, by emailing your comments to us at firstname.lastname@example.org or contacting us via our Facebook or Twitter pages. While we fervently believe that Web criticism will never supplant the print variety—indeed, for those who want the full Cineaste experience, our quarterly print magazine is essential— we realize that intelligent online commentary will become even more vital as the twenty-first century progresses.—The Editors
Founder and Editor-in-Chief
Editorial Board ROBERT CASHILL
RAHUL HAMID CYNTHIA LUCIA RICHARD PORTON Consulting Editor DAN GEORGAKAS Contributing Editors ROY GRUNDMANN LEONARD QUART
DENNIS WEST Assistant Editors DAVID NEARY CYNTHIA ROWELL
Associates ANTOINE DE BAECQUE
THOMAS DOHERTY JEAN-MICHEL FRODON
JOHN HILL ANDREW HORTON ADRIAN MARTIN LOUIS MENASHE JARED RAPFOGEL DEBORAH YOUNG Contributing Writers Susan Carruthers, Robert Koehler, Stuart Liebman, Jonathan Murray, Adam Nayman, Darragh O’Donoghue, Catherine Russell, Christopher Sharrett,
Michael Sicinski, J. E. Smyth,
David Sterritt Production Assistance
KEVIN GAOR Web Director JESSICA Y LEE Technology Consultant
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Cineaste (ISSN 0009-7004) is published quarterly at 708 Third Avenue, Fifth Floor, New York, NY, 10017-4201, telephone (212) 209-3856, Website www.cineaste.com, email email@example.com. Subscription address: P.O. Box 180, New York, NY 10009-9998. All articles rep re sent views of their authors and not necessarily those of the editors. Copyright © 2018 by Cineaste, Inc. For permission to photocopy material published in Cineaste for business or academic uses, contact Copy right Clearance Center, firstname.lastname@example.org, www.copyright.com. Cineaste is available in full-text elec tronic format, on a subscription or individual article download basis, from ProQuest LLC, www.proquest.com and JSTOR, www.jstor.org. Microfilm/ fiche copies are available from NA Publishing, Inc., www.napubco.com. This issue pub lished in September 2018. Cineaste is a registered 501(c)(3) nonprofit organization. Please consider making a tax-deductible donation to support this magazine.
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