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| Screen (magazine) | |
|---|---|
| Title | Screen |
| Category | Film magazine |
| Frequency | Monthly |
| Firstdate | 19xx |
| Finaldate | 20xx |
| Language | English |
Screen (magazine) was a monthly periodical devoted to motion pictures, cinema criticism, and film culture. Launched in the mid-20th century, it covered studio releases, independent cinema, international festivals, and the careers of actors and directors with feature articles, interviews, and reviews. The magazine situated itself alongside contemporaries and cultural institutions, engaging with the work of auteurs, performers, production companies, and exhibition venues.
Founded amid postwar shifts in the film industries of Hollywood, Europe, and Asia, the magazine emerged as part of a transnational conversation about screen art, responding to developments around the Cannes Film Festival, Venice Film Festival, Berlin International Film Festival, British Film Institute, and the rise of national cinemas such as Italian neorealism, French New Wave, and Japanese New Wave. Early issues tracked studio systems including Metro-Goldwyn-Mayer, Warner Bros., Paramount Pictures, 20th Century Fox, and independent outfits like United Artists and A24. Contributors debated the legacies of directors connected to Alfred Hitchcock, Orson Welles, Jean-Luc Godard, Federico Fellini, Akira Kurosawa, and Ingmar Bergman. During the 1960s and 1970s the magazine documented the cultural impact of stars such as Marlon Brando, Audrey Hepburn, Brigitte Bardot, Clint Eastwood, and Paul Newman, while also covering shifts in film technology linked to companies like Technicolor and events like the transition from 35mm to new formats. The publication navigated corporate consolidation, union disputes involving groups like the Screen Actors Guild, and censorship controversies shaped by institutions such as the Hays Code and later rating systems. As cable television networks including HBO and home video markets featuring VHS emerged, the magazine adjusted its coverage to encompass television filmmakers, miniseries creators, and home-entertainment trends. In later decades it responded to globalization, the proliferation of film festivals, and the digital revolution affecting companies like Sony Pictures, Netflix, and Amazon Studios.
Editorially, the magazine combined long-form criticism, short reviews, and photo spreads documenting premieres at venues such as Grauman's Chinese Theatre and the Royal Opera House. Regular columns examined auteur profiles—covering figures like Stanley Kubrick, Martin Scorsese, Francis Ford Coppola, Satyajit Ray, and Wong Kar-wai—alongside coverage of cinematographers associated with Roger Deakins and production designers who collaborated with Syd Mead. The magazine profiled actors across generations from Katharine Hepburn and Bette Davis to Robert De Niro and Cate Blanchett, and published interviews with producers linked to Samuel Goldwyn, Harvey Weinstein, and independent producers operating through entities like Miramax and DreamWorks. Features explored screenplay authorship involving writers such as William Goldman and Charlie Kaufman, while technical pieces covered editing practices credited to figures like Thelma Schoonmaker and soundwork connected to engineers who served on films for studios like Universal Pictures. Special issues focused on movements and institutions including Cahiers du Cinéma, The Criterion Collection, and archives like the Museum of Modern Art film department. Regular review sections assessed releases from distributors like Sony Pictures Classics, Fox Searchlight Pictures, and international exporters representing Gaumont and Toho.
Published monthly, the magazine circulated to subscribers, newsstands, and libraries, reaching film scholars, critics, festival programmers, and cinephiles connected to organizations such as Sundance Institute, Tribeca Film Festival, and university film departments at institutions like New York University and the University of California, Los Angeles. Circulation figures fluctuated with shifts in advertising revenue from trade advertisers linked to equipment manufacturers such as Panavision and studios seeking promotional space. The title adapted its production values to compete with magazines like Sight & Sound, Cahiers du Cinéma, Variety, and The Hollywood Reporter, offering glossy photo essays and special festival editions timed to events including Telluride Film Festival and SXSW. Geographic distribution included metropolitan centers with robust exhibition cultures—London, New York City, Los Angeles, Paris, Tokyo—and overseas markets serviced by distributors and cultural attachés at embassies. Over time circulation responded to the rise of online film criticism hosted by outlets inspired by legacy publishers such as Rolling Stone and newer platforms influenced by social media networks like Twitter.
The magazine published criticism and journalism from writers, scholars, and practitioners associated with film studies and industry publications, sometimes featuring bylines from critics who also wrote for The New Yorker, The New York Times, The Guardian, and The Los Angeles Times. Notable editors fostered relationships with festival directors such as Thierry Frémaux and programmers connected to BFI London Film Festival, and cultivated contributors who later joined academic faculties at institutions like Columbia University and Stanford University. Contributors included critics who championed auteurs like André Bazin-influenced commentators, historians tracing studio eras alongside biographers of figures such as Charlie Chaplin, Greta Garbo, and Buster Keaton. The magazine featured interviews with filmmakers including Pedro Almodóvar, Hayao Miyazaki, Akira Kurosawa, David Lynch, and Pedro Costa, and published portfolio pieces by photographers who documented sets for publications linked to Life (magazine) and Magnum Photos.
The magazine influenced festival programming, restoration projects, and academic curricula by spotlighting rediscovered films and advocating for preservation through partnerships with archives like the Academy Film Archive and initiatives associated with the National Film Preservation Foundation. Its criticism shaped reputations of films and filmmakers cited in monographs on figures such as Andrei Tarkovsky, Nicholas Ray, and Yasujiro Ozu, and informed retrospectives mounted by institutions including the Tate Modern, Museum of Modern Art, and the La Cinémathèque Française. Alumni of the magazine went on to lead editorialrooms at major cultural outlets and to teach in departments at universities such as University of Southern California and Yale University. Collectors and libraries preserve back issues as primary sources for scholarship on the shifting contours of film culture across the 20th and early 21st centuries.
Category:Film magazines