Quarterly Review of Film and Video

The Quarterly Review of Film and Video, founded in 1962, and now published five times a year (four regular issues, plus one “bonus” issue) by Taylor and Francis, presents critical, historical, and theoretical essays, book reviews, and interviews in the area of moving image studies including film, video, and digital imaging studies. Quarterly Review of Film and Video's scope is international and interdisciplinary, and it is recognized as one of the world’s leading journals in film studies.

Quarterly Review of Film and Video is available in print form, and also can be accessed with a subscription on-line. An RSS feed is also available.

Wheeler Winston Dixon and Gwendolyn Audrey Foster of the University of Nebraska, Lincoln have co-edited the journal since 1999.

Throughout its long history, Quarterly Review of Film and Video has published work by most of the major names in the field of contemporary film studies, such as Philippa Gates, Marcia Landy, Rebecca Bell-Metereau, Scott MacDonald, Brian McFarlane, J. P. Telotte, David Sterritt, Mikita Brottman, Jean-Pierre Geuens, David Ehrenstein, Maria Pramaggiore, Stephen Prince, Judith Mayne and many others.

Quarterly Review of Film and Video is devoted to providing innovative perspectives from a broad range of methodologies, including writings on newly developing technologies, as well as essays and interviews in any area of film history, production, reception and criticism. Quarterly Review of Film and Video is also interested in essays on video games and video installations, and postmodern examinations of images in popular culture and the video arts that intersect with film/video.

Quarterly Review of Film and Video is indexed in Communication Abstracts, Film and Literature Index, Film and Literature Review, International Index to Film Periodicals, Media Review Digest, and the MLA International Bibliography.

Famous quotes containing the words review, film and/or video:

    The thanksgiving of the old Jew, “Lord, I thank Thee that Thou didst not make me a woman,” doubtless came from a careful review of the situation. Like all of us, he had fortitude enough to bear his neighbors’ afflictions.
    Frances A. Griffin, U.S. suffragist. As quoted in History of Woman Suffrage, vol. 4, ch. 19, by Susan B. Anthony and Ida Husted Harper (1902)

    The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.
    Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)

    It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . today’s children have substituted television viewing and, most recently, video games.
    Marie Winn (20th century)