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:
“Twice and thrice over, as they say, good is it to repeat and review what is good.”
—Plato (c. 427–347 B.C.)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)
“These people figured video was the Lord’s preferred means of communicating, the screen itself a kind of perpetually burning bush. “He’s in the de-tails,” Sublett had said once. “You gotta watch for Him close.””
—William Gibson (b. 1948)