Cahiers du Cinema is the most prestigious and influential film journal ever published. Many of the journal's first major contributors and theorists, Godard, Truffaut, Rohmer, Rivette, and Chabrol went on to become some of France's most important film directors as leaders of the New Wave.  André Bazin, Cahiers’ first editor, is considered one of cinema’s most influential writers.

Cahiers du Cinema was founded in 1951 by Jacques Doniol-Valcroze, Léonard Keigel and Andre Bazin. In its first three years of life Cahiers du Cinema had no distinct editorial position. It had an openness to what was new together with an uncertainty as to what this was. Welles was new - no doubt about that. Neorealism was new. Was the novelty of Welles related to the novelty of neorealism? What else was new in US cinema? Cahiers re-invented the basic tenets of film criticism and theory and championed the work of directors Jean Renoir, Roberto Rossellini, Kenji Mizoguchi, Max Ophüls, and Jean Cocteau among others.

Since the March 2007 issue Cahiers has been published simultaneously in French on paper and, in its entirety, in English at e-cahiersducinema.com in the hope that its e-version “will be a way of making a different voice heard in the world – a way of proposing a fresh, rigorous and contemporary approach to the cinema and its place in present day culture.” Cahiers du Cinema is a publication of the Le Monde group and Jean-Michel Frodon is editor-in-chief.

Cineaste is a quarterly magazine that offers a social, political and esthetic perspective on the cinema. A running theme is the balancing act films perform between entertainment and edification–between poetics, politics and the real world. Cineaste covers all areas of the cinema, including Hollywood films (old and new), American independents, quality European films, and the cinema of the Third World. Filmmaker interviews, coverage of books, new independent releases and DVDs add to the mix. Cineaste is not affiliated with any organization or institution and this year is its fortieth year of publication.

Gary Crowdus, Cineaste Founder and Editor-in-Chief, began the magazine in 1967 while he was a student at New York University where in 1969 he graduated from NYU’s Institute of Film and Television. Early issues covered the activities at the few university film departments that existed then–especially at NYU and UCLA. Cineaste played an important role in connecting 1960s radicalism to past radical filmmaking and cultural theory.

The Cineaste Interviews are culled from interviews with directors and actors over the past twenty years. The first volume of Cineaste interviews, edited by longtime Cineaste Associate Editor Dan Georgakas and Lenny Rubenstein concerned actors, scriptwriters, producers, and critics along with directors. In the latest collection edited by Gary Crowdus and Dan Georgakas they begin a new series, in effect, with a volume limited to directors, envisioning future volumes on filmmakers who are not directors—and also not exclusively actors—but also cinematographers and others usually little acknowledged outside the industry proper.

Criticine is devoted to offering intelligent discourse about Southeast Asian cinema from writers within or specializing in the region. It was formed out of an aching need. Previously most writing available to the public on Southeast Asian cinema, both in the region and outside of it, was sourced from the pens of foreign authors. While valuable, these writings lacked the insight and contextualization that can only be made by one who lives, breathes, and understands the culture and context from which a work was born.

Criticine devotes special critical attention to independent cinema; underground cinema; and short filmmaking, serving to highlight dynamic and vital forms of cinema that are often ignored by the mainstream media. Among its contributors are some of the most important and significant voices on Southeast Asian cinema today including: Alexis A. Tioseco, Ben Slater, Benjamin McKay, Darlene T. Lin, Eric Sasono, Gaik Cheng Khoo, Gertjan Zuilhof, Graiwoot Chulphongsathorn, Hassan Muthalib, Kong Rithdee, Lisabona Rahman, Philip Cheah, Raya Martin, Rolando Tolentino, and Suparp Rimtheparthip. Criticine is based in Manila, Philippines.

Criticine Founder and editor is Alexis A. Tioseco, a film critic from the Philippines, a faculty member of the Arts Department of the University of  Asia and the Pacific, and a frequent panelist and speaker at film festivals worldwide. Tioseco’s writing has appeared in The Philippine Daily Inquirer, The Philippines Star, Screen International, Ekran (Slovenia), Panic (France), Senses of Cinema, and Osian's Cinemaya.  He is a staff writer for the film section of Indiefilipino.com and has been a film festival programmer for both CineManila International Film Festival and for .MOV International Film Festival. He also writes an excellent weblog at:   http://alexistioseco.wordpress.com/

Based in Sweden, Film International is published bi-monthly by a non-profit cultural organization dedicated to promoting intellectual film culture. The magazine began publication in 1973 as Filmhäftet. In 2003 the journal changed its name to Film International and became an all-English edition. Film International focuses on longer essays with in-depth-analysis, but it also features interviews, festival reports and an extensive review section on books, special DVD editions and current films.

Through the years filmint. has recruited as contributors some of the world’s most distinguished film scholars and journalists including:Deborah Allison, John Baxter, Mark Bould, James Chapman, John R. Cook, Nicholas J. Cull, Robert von Dassanowsky, Carl Freedman, Philip Gillett, Erik Hedling, Dina Iordanova, David E. James, Jon Lewis, Gina Marchetti, Toby Miller, Onookome Okome, John Orr, William Rothman, Christopher Sharrett, Diane Stevenson, Theresa Urbainczyk, Mike Wayne, Robin Wood and many others–to see a full list click here

Film International has recently taken up a partnership with UK-based Compass: Film International, a film festival group in Bristol, England. Film International and Compass both aim to encourage the promotion of critical discussion on all aspects of moving image culture and to provide a bridge between the academy and popular film audiences. Editor-in-chief at filmint. is Daniel Lindvall.

FilmFocusIndia.com, promoting non-mainstream Indian cinema, provides in-depth coverage of India’s film festivals and of new films made outside the Bollywood mainstream. In 2007 FIPRESCI-India, the national section of FIPRESCI International, selected FilmFocusIndia.com as its vehicle for dissemination of information on cinema in India to the world community. India’s leading film critics are prominent among FFI contributors of the latest information on film activities, festival reports and film reviews.

The first International Film Festival of India (IFFI) was held in Mumbai in 1952. Six years later the Federation of Film Societies of India (FFSI) was organized to support and represent film societies. FFSI now has more than four hundred member film societies and over the past decade film society movement activists have been chief among the organizers of India’s new international film festivals such as those at Kolkata (International Forum for New Cinema), Trivandrum (TIFF), Chennai, Bangalore, Mumbai (Third Eye), Pune (Asian FF), and Hyderabad. Those festivals as well as the burgeoning of the international film festival circuit have helped to support the growth of India’s thriving “parallel cinema” movement.

Launched in 2007, FilmFocusIndia.com is the initiative of a group of India’s leading film critics, film society activists and writers. H.N.Narahari Rao, a film critic, Secretary Fipresci India and Vice president FFSI (SR) is the Editor and Publisher. M.K.Raghavendra, winner of the Swarna Kamal award for Best Film Critic 1996, and Treasurer, Fipresci India is the Executive Editor.

Eminent film critics and film society activists who have contributed to FFI include Mr. Sudhir Nandgaonkar (Mumbai), Mr. U.Radhakrishnan (Delhi), Utpal Borpujari (Delhi), Mr. Premendra Mazumder (Kolkata), Mr. Bitopan Borbara (Guwahati), Mr. George Mathew (Trivandrum), V.T.Subramanian (Tirupur), Mr. K.N.T.Sastry (Hyderabad), and Mr. Prakash Reddy (Hyderabad).

Sometimes what's most interesting is what you can't see. It's what happens in the gaps between images, in the moments between moments

Flicker is a resource for media artists, cinephiles, perceptualists, scanheads, art junkies, sabateurs, inverts, agoraphobics, researchers, programmers, educators, media literacists, and disaffected elements of the mainstream media technocracy.”

Flicker is a website created by film and video maker Scott Stark, dedicated to experimental and alternative cinema. It is part of the hi-beam online magazine for experimental cinema. Scott Stark has made over 65 films and videos since the early 1980s, and has created numerous installations, performances and photo-collages in venues as diverse as New York's Museum of Modern Art, the San Francisco Cinematheque, and the Tokyo Image Forum. At  Flicker:

The Artists page lists new and old releases of films and videos organized by individual makers, with descriptions by the artists, and stills and sample clips where available.
The Venues page lists places that show experimental and fine-art cinema, with complete, up-to-date calendars of their events, where possible, and lists of past shows.
The Resources page hosts information about festivals, grants, workshops, seminars and resources for media artists.
The Images page is an ever-changing gallery of images culled from the many corners of Flicker, with links to information about the films and videos from which they're taken.

Flow is an online journal of television and media studies launched in October 2004. Flow's mission is to provide a space where researchers, teachers, students, and the public can read about and discuss the changing landscape of contemporary media at the speed that media moves.

Contributors include: Daniel Bernardi, Chuck Tryon, Will Brooker, John Corner, Michael Curtin, Mary Desjardins, John Hartley, Heather Hendershot, Michele Hilmes, Henry Jenkins, David Lavery, Jim McGuigan, Jason Mittell, Horace Newcomb, John Sinclair, Mimi White and others.

Flow is a project of the Department of Radio-TV-Film at the University of Texas at Austin and is coordinated and edited by graduate students in the Department of Radio-Television-Film.

Originally an animation print magazine, fps was first published in 1991, with news, features and commentary on all aspects of animation—conception, creation, voice-acting, and screenings. IFCtv.com called fps "the definitive animation 'zine," and many industry fans and insiders lauded the publication for its take on the animation world. The print magazine folded in 2000 and fps was reborn as a website in 2003, re-launched as a subscription-based downloadable PDF magazine A special preview version of each issue of Frames Per Second is available for free at the site.

fpsmagazine.com offers articulate and insightful analyses of animation in all its forms. The site features news, features, commentary, festival overviews, reviews, a treasure trove of links, a list of animation releases and books of interest. Contributors returning to the fold include Mike Caputo, on do-it-yourself animation, and animation insider Michael Ventrella, founder of Animato! Magazine.

fps  has partnered with CreativeHeads.net to integrate their comprehensive job board into fpsmagazine.com. It provides employers access to a detailed database of jobseekers from multiple creative content industries, and jobseekers have access to jobs and projects in three highly specialized industries: video games, animation & visual FX, and 3D technology & software tools.

Founding editor of fps, Emru Townsend, lives in Montreal and writes about animation, live-action films, technology, music, comics and books for such diverse publications and web sites as PC World, Hub: Digital Living, January Magazine, The All-Movie Guide, and his own web site, 5x5 Media.

Looking at media in its social and political context, analyzing media in relation to class, race, and gender

JUMP CUT: A REVIEW OF CONTEMPORARY MEDIA publishes material on film, television, video and related media and cultural analysis. Jump Cut is committed to presenting and developing media criticism which recognizes: (1) media in a social and political context; (2) the political and social needs and perspectives of people struggling for liberation (3) the interrelationship of class, race, and gender oppression; (4) new theoretical and analytic perspectives.

Jump Cut published its first issue in 1974 as a tabloid. The editors had met in graduate school at Indiana University and wanted to produce a film magazine that would represent their interests: politically informed (socialist, feminist, anti-racist, more or less "new left"), open to new theoretical trends (semiotics, psychoanalysis, European film theory, structuralism, etc.), aggressively concerned with current films, and written in a way that was clear to an interested reader without falling into academic jargon and fads. 

In the 70s and early 80s Jump Cut was virtually alone in having a consistent and committed editorial concern with Third World film, feminist film and film analysis, gay and lesbian film and film analysis, independent and alternative US work, especially documentary and activist work.  Notable special sections on Brazil, Cuba, new theory, gay and lesbian film, issues of pornography and sexual representations, and new forms of documentary staked out a new terrain.  Not beholding to any institutions or publishers, Jump Cut was one of the first regular outlets for younger and more radical critics, and free to address controversial topics in a committed way. As a print publication until 2001, JUMP CUT circulated in North America and internationally to a wide range of readers including students, academics, media professionals, political activists, radicals interested in culture, film and in the radical analysis of mass culture and opposition media. Jump Cut is edited by: Chuck Kleinhans, Julia Lesage and Joe Hess.

Kamera.co.uk, edited by the multi-talented Antonio Pasolini, is a part of the No Exit Press  publications family that also includes: Kamera Books, Oldcastle Books, and Crime Time magazine–now available online. Kamera covers a range of material on arthouse, independent and world cinema providing up-to-date information on alternative film. The site includes interviews, news, feature articles, film and book reviews and a readers' forum. Kamera interviews are with independent film directors, writers and actors and its reviews are contributed by well known UK film journalists, writers and academics.

Now the UK's leading publisher of crime fiction, No Exit Press was founded in 1987 by Ion Mills with the conviction that the quality of the writing counted for more than the marketing budget, coupled with a view that some of the best writing was happening in the field of crime fiction–that conviction was affirmed with the considerable success of No Exit books by Edward Bunker, Daniel Woodrell, James Sallis, Wang Shuo and a host of others.

In 1999 Paul Duncan, co-founder of Crime Time magazine and Gerald Kersh biographer, conceived the idea to create a series of affordable, easy to read Pocket Essentials that could be used as references by film students and cinema fans alike. Ion Mills backed the idea under the Oldcastle Books banner and towards the end of 1999 the first books on Alfred Hitchcock and Stanley Kubrick were published.

Metro magazine is published by the Australian Teachers of Media (ATOM).

Metro is a quarterly magazine that keeps alive the tradition of the essay, immersing the reader in well-informed, analytical and thought-provoking articles on film and media. It is Australia's oldest, continuously published film and media magazine, having been published since 1968.

Metro specializes in essays and articles, reviews, interviews and analysis of Australian, New Zealand and Asian features, shorts and documentaries. It also covers television, radio, multimedia, animation, the internet, and new media. Only the magazine contents pages are available online. The magazine is available through subscription or can be purchased through selected newsagents and bookshops in Australia and New Zealand.

Held annually since 1982, the EnhanceTV ATOM Awards recognize excellence in over thirty categories of Film, Television, Animation and Multimedia. The Awards are open to students, production companies, independent filmmakers, educational bodies and educational producers, and celebrate the very best of  Australian and New Zealand media.

Offscreen has been online since 1997. Based in Montréal, Offscreen is a wide-ranging film journal with scope and content that includes writing about: the Montreal film scene within an international context; personal and independent films made by up and coming filmmakers; films with creative design and broad social commitment; Canadian films/filmmakers; Asian and alternative cinemas (horror, exploitation, esoteric, experimental, documentary, etc.). It features extensive interviews, in-depth festival coverage, and lengthy, well-researched essays. The guiding editorial policy at Offscreen is to allow for the flexibility to feature rigorous, well-researched texts alongside material that does not fit into traditional scholarly formats such as director interviews, film festival reports, and DVD reviews.

Offscreen is edited and maintained by Donato Totaro, Ph.D, who has been a film studies lecturer at Concordia University since 1990. Totaro is a member of the Association québécoise des critiques de cinema (AQCC) and has published extensively on recent Asian cinema, the cinema of Andrei Tarkovsky, the horror genre, and is a regular contributor to the US horror magazine Fangoria.

July 2007 marked the 10th Anniversary for Offscreen. In the words of Donato Totaro, here is an excerpt from:

Founded in 2003 by Adrian Martin, Helen Bandis and Grant McDonald the Melbourne-based, independently produced film/arts magazine ROUGE was described by the CHICAGO READER as "the best film magazine going that's exclusively online ... far and away the most international of film magazines in English ... attentive to what's going on in movies around the planet." Every three months, ROUGE takes an in-depth look at the links between cinema and other arts with an emphasis on developing a creative approach to cinema through texts that are as poetic as they are analytical.

Contents of ROUGE 1 included: “an exclusive text by master Taiwanese director Hou Hsiao-hsien on new directions in Asian cinema; Yvette Biro on Tsai Ming-liang; fictocriticism by American director Mark Rappaport; LA VIE NOUVELLE Philippe Grandrieux in conversation with Nicole Brenez; and Arab film and video by Jayce Salloum. Also: tributes to Brakhage and Pialat; painter Gerard Fromanger on meetin' JLG; and a translation of Serge Daney on Philippe Garrel”. In another  issue Rouge featured the contributions of about 50 people who were asked to express themselves via an image taken from a film.

Co-editor Adrian Martin is widely regarded as Australia’s leading film critic and is the author of seven books on film and filmmakers and co-editor with Helen Bandis & Grant McDonald of  Raúl Ruiz: Images of Passage (Rouge Press). Co-editor Helen Bandis is the Co-Producer/Writer of Love and Other Catastrophes, her first feature film. Co-Editor Grant McDonald works in the editing and distribution areas of the publishing industry.

Senses of Cinema keeps a savvy balance between intelligent, well-informed criticism designed for a larger audience of non-specialists, and scholarly rigor. While it was founded in late 1999 to address the absence in Australian film culture of an informed, serious and passionate cinema magazine, soon after its launch, Senses of Cinema garnered the interest, enthusiasm and respect of readers worldwide. At the beginning filmmaker Bill Mousoulis founded, edited and was the webmaster for Senses of Cinema. In 2000 Fiona Villella signed on as co-editor and later became the Editor and Managing Director.

Senses of Cinema was modeled on magazines such as Cahiers du Cinéma, Positif, Film Comment, Cineaste, Skrien and Close-Up. It has always sought to straddle the two extremes of journalism and the academy and to settle on ground somewhere in between, where critical and intellectual ideas of cinema mix with subjective thoughts and feelings, and where the politics of cinema and the mass media at large can be rigorously discussed in an accessible and eclectic manner. It includes various sections -critical coverage of contemporary and past Australian and world cinema, a Great Directors critical database, a film festivals page, a top tens list, news, and a major links page. Jonathan Rosenbaum, Chris Fujiwara, Geoff Andrew and Tag Gallagher regularly appear at Senses of Cinema. From 2004 issues have been published on a quarterly basis. Co-editors are Rolando Caputo, and Scott Murray. Senses of Cinema is published by Senses of Cinema Inc., a not for profit organization.

The Muestra de Cine Mexicano, the University of Guadalajara y and Fipresci made it possible for a group of dreamers, officially called film critics and journalists, to meet, to discuss and to commit to paper what would become the first issue of The Thinking Eye (El Ojo que Piensa), an online journal that has the Latin American cinema at its very center, at the focal point.

All through the 60s, Latin American cinematographies developed a specific language for film criticism. It is no mere coincidence that some of the most important film-makers of the period were film critics - see for example the writings of Fernando Birri, Glauber Rocha, Julio Garcia Espinoza, Fernando Solanas, David Neves, Tomas Gutierrez Alea and others. Their texts, as well as their films, established a national cinema and its critical reflection.

The Thinking Eye poses some simple questions: What is a film critic? Why do critics write about movies? How do they write? What coordinates and arguments do they use? What kind of information, ideas, debates, do they propose? What does it mean to be a film critic in Latin America The films and articles chosen to be focused by The Thinking Eye try to balance a time and space gamut. To talk about recently released films, of films which have become classics, of films from all countries in Latin America and Spain, of economic and legal phenomena which affect film production.

Lucy Virgen, founding editor of The Thinking Eye, is a renowned film critic. From 1990 to 2003 she wrote for a variety of newspapers ( El Informador, Siglo 21 Mural, Reforma y El occidentali ) and magazines ( Cinemais and Luvina ). Co-author of Cinema Mexicain published by Centre Georges Pompidou (French) and the British Film Institute (English), she has also been assistant director and coordinator of programming of the International Festival of Mexican Cinema at Guadalajara and a film reviewer for Radio Universidad de Guadalajara. She is a member of Fipresci and has been a juror at many international film festivals including those at Toronto, Palm Springs, Berlin and Chicago.

“A cinema that will unfreeze that icy and now constant experience of being addressed only as a social construct for the benefit of the market; a cinema where the tension between a world that is being illustrated and a world that is being illuminated can make us live again in that dream-state so necessary to our very breathing; a cinema, therefore, that will hurl itself against that current order of things, a cinema that is not a calling card for a career but a cinema that will march straight past this present Praetorian guard of cultural and commercial administrators and by so doing will deliver once again that wonderful surprise – that which is still possible.”
- Marc Karlin 1943-1999

 
VERTIGO is a film and tv magazine by and for filmmakers and audiences committed to independent film and video. Founded in 1993 by documentary filmmaker Marc Karlin, Vertigo’s writers  include: John Berger, Nick Bradshaw, Chris Darke, Paul Gilroy, Stuart Hood, Mark Cousins, Henry K Miller, S.F. Said, and Sukhdev Sandhu.  Vertigo has presented interviews and comments from directors including: Theo Angelopolous, Atom Egoyan, Victor Erice, Isaac Julien, Mike Hodges, Shekhar Kapur, Abbas Kiarostami, Andrew Kotting, Robert Lepage, Ken Loach, Chris Marker, John Maybury, Sally Potter, Lynne Ramsay, Raul Ruiz and Michael Winterbottom. 

Vertigo is co-edited by Holly Aylet  and Gareth Evans. Under their leadership Vertigo has sponsored, hosted and coordinated key events, panels and debates on independent film and U.K. film policy. There are three print issues and one special electronic issue every year. The website provides sample articles in full text from the current print and online issues as well as back issues with a searchable archive of content which goes back to the first issue. There is a free electronic newsletter, a news section, and a page of links to other sites arranged under the following headings: Film magazines and websites; Courses; Funding; Filmmaker networks; Festivals; Publishers; Distributors; and Cinemas.  The emphasis is always on innovation and diversity relating to the moving image and independent film.

On the event of his death in 1999 it was written in the Independent (London) that Marc Karlin was “the most significant unknown filmmaker working in Britain during the past three decades. He was a central figure in the radical avant-garde of the 1970s and made a major contribution to the shaping of Channel 4. As a director he crafted innovative and passionate films for both Channel 4 and BBC2”. Marc Karlin described two kinds of cinema: one comfortable and cosy, pleasurable because it explored what was familiar; another, often difficult or uncomfortable, because it showed us something new, or made us see something old in a new way. Aylet and Evans have kept Karlin’s vision for Vertigo alive and well by all accounts.

Britain's most consistently challenging and stimulating film magazine’ The Daily Telegraph

‘Vertigo is proof that British Film is as intellectually healthy as ever.’ The Guardian