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| Quarterly Review of Film and Video | |
|---|---|
| Title | Quarterly Review of Film and Video |
| Discipline | Film studies, Media studies, Television studies, Visual culture |
| Abbreviation | Q. Rev. Film Video |
| Publisher | Taylor & Francis |
| History | 1976–present |
| Frequency | Quarterly |
| Issn | 1050-9208 |
Quarterly Review of Film and Video Quarterly Review of Film and Video is a peer-reviewed academic journal covering Film criticism, Film theory, Television studies, and related areas of Visual culture. The journal publishes research articles, critical essays, and reviews that engage with filmmakers such as Alfred Hitchcock, Akira Kurosawa, Federico Fellini, Stanley Kubrick, Ingmar Bergman, and Wong Kar-wai as well as television creators associated with David Lynch, Vince Gilligan, Shonda Rhimes, Matthew Weiner, and Lena Dunham. It addresses topics connected to institutions and events including the Cannes Film Festival, Sundance Film Festival, Venice Film Festival, Berlin International Film Festival, and the Academy Awards.
Founded in 1976 amid shifts in film scholarship led by figures associated with Film Studies, the journal emerged alongside other periodicals such as Sight & Sound, Film Quarterly (journal), Screen (journal), Cineaste, and Journal of Film and Video. Early issues engaged debates influenced by scholars linked to New Criticism, Auteur theory, Structuralism, Semiotics, and thinkers including André Bazin, Roland Barthes, Laura Mulvey, Siegfried Kracauer, and Christian Metz. Over decades the title responded to changes tied to the rise of New Hollywood, the globalization exemplified by Hong Kong cinema, the transnational circulation highlighted by studies of Third Cinema and New Iranian Cinema, and the digital transformations associated with companies such as Netflix (service), HBO, Amazon (company), and YouTube.
The journal emphasizes scholarship on narrative and non-narrative practices, authorship debates concerning figures like Quentin Tarantino, Martin Scorsese, Pedro Almodóvar, and Hayao Miyazaki, and industry analysis involving studios such as Warner Bros., Paramount Pictures, 20th Century Fox, Universal Pictures, and Studio Ghibli. It publishes methodological approaches drawing on theorists such as Jacques Derrida, Michel Foucault, Stuart Hall, Mikhail Bakhtin, and Judith Butler, while addressing media formats including documentary film exemplified by Errol Morris and Frederick Wiseman, and animation linked to Walt Disney and Isao Takahata. Interviews, archival research, pedagogy pieces, and reviews engage festivals like Telluride Film Festival and institutions like the British Film Institute, Museum of Modern Art (New York), American Film Institute, and university programs at University of Southern California, New York University, University of California, Los Angeles, and Columbia University.
Published quarterly by Taylor & Francis, the journal appears in print and electronic formats distributed through academic platforms used by libraries at institutions including Harvard University, Yale University, University of Oxford, University of Cambridge, and University of Chicago. Subscriptions and individual issues reach readers at research centers such as the Library of Congress, Bibliothèque nationale de France, and the British Library. The journal's circulation interacts with indexers and aggregators associated with organizations like ProQuest, EBSCO Information Services, and JSTOR.
Editorial leadership typically comprises scholars with affiliations to departments and research centers at New York University, University of California, Berkeley, University of Pennsylvania, King's College London, University of Warwick, University of Toronto, and Australian National University. Contributing authors have included critics and historians linked to publications such as The New Yorker, Sight & Sound, Cahiers du cinéma, Film Comment, and The Guardian, alongside academics cited in monographs from presses like Oxford University Press, Routledge, Cambridge University Press, and Princeton University Press.
The journal has been cited in scholarship addressing theoretical interventions by Gilles Deleuze and Jean-François Lyotard, industrial studies involving Paramount Pictures and Columbia Pictures, and cultural debates around auteurs such as Roman Polanski and Andrei Tarkovsky. Its articles influence curricula at film schools including American Film Institute Conservatory and London Film School, and inform programming at institutions such as the Tate Modern and the Guggenheim Museum. Reviews in outlets like Times Higher Education, The Chronicle of Higher Education, and Los Angeles Times have discussed its contributions to debates on representation, authorship, and media policy.
The journal is indexed in major bibliographic services and citation indexes used by scholars at Scopus, Web of Science, MLA International Bibliography, Arts & Humanities Citation Index, and databases maintained by EBSCO and ProQuest. Its metadata is accessed by library catalogs at Oxford University Libraries, Bodleian Libraries, Harvard Library, and national bibliographic services including the National Library of Australia and Library and Archives Canada.
Special issues have focused on themes such as transnational cinema, documentary ethics, television seriality, and digital media cultures, featuring contributions analyzing works by Andrey Zvyagintsev, Claire Denis, Bong Joon-ho, Christopher Nolan, Hayao Miyazaki, and television phenomena like The Sopranos, Breaking Bad, Twin Peaks, and The Wire. Notable articles have engaged archival discoveries connected to Sergei Eisenstein and Fritz Lang, theoretical reappraisals invoking Walter Benjamin and Theodor Adorno, and industry case studies involving Miramax and StudioCanal.
Category:Film studies journals