Article excerpt

Framework: the Journal of Cinema andMedia'is an English-language based, international journal dedicated to theoretical and historical work on contemporary developments in world film and media. Framework has always been known for diverse explorations of these topics, revealed in its choice of subjects, authors and editorial board. These represent not only up-to-date scholarship but also work within preservation and archiving. Framework (1971-1992) provided an open forum for study of film theory, Hollywood, television, and independent cinema production by writers as varied asjeanLuc Godard, Umberto Eco, Pier Paolo Pasolini, Ashish Rajadhyaskha, Laura Mulvey, Glauber Rocha, Jean-François Lyotard, Patricia Mellencamp, Manthia Diawara and Peter Wollen. It devoted issues to British, Indian, Sri Lankan, Chinese, Vietnamese, Latin American, independent American, and Australian cinemas. Most issues contained reprints of ground-breaking early twentieth century film theories by Germaine Dulac, Ricciotto Canudo, Dorothy Richardson and others.

Some of these entries are available on Framework's, website: www.frameworkonline.com. The website compliments our print issues, providing access to a selection of articles from Framework past and present, complete contents of back issues which are for sale, information on our editorial board, updated reviews, author's notes and email address.

This issue inaugurates Framework with a new publisher, Wayne State University Press, and for the first time houses Framework in the United States. Too long out of print, the return of Framework has brought excitement among many who have missed its informative and often radical contents.

Framework aims to examine the transitional terrain of film and media and promote diversity in cultural, geographical, and intellectual background. We provide a platform for interviews, reviews of particular regions, themes and practitioners; and, where necessary, supply facilities for translation of such material. We offer information about intellectual and national traditions in world cinema and media and continue to historicize film and media theories, texts and social practices and to comment on cultural policies. Framework engages in conferences, exhibitions and special film/media programs in a variety of international venues. We are committed to articles which fit with our particular focuses on archaeology, interviews, themed articles and dossiers, and film and book reviews. Some are reflected in this issue and others highlighted in issues to follow.

Our three upcoming issues are devoted to an international voice. Issue 43.2 (Fall 2002), on Middle Eastern Cinema and Media Arts, includes articles by Hamid Naficy on Iranian exilic cinema, Viola Shafik on the history of Egyptian documentaries and Martin Stollery on Tunisian filmmaker Nouri Bouzid, interviews with Lebanon's Jayce Salloum, Turkey's Yesim Ustaoglu and Morocco's Abdelkader Lagtaa, and art pieces by Palestinian Azza El Hassan and Lebanese Walid Ra'ad. Issue 44.1 (Spring 2002), on Latin American Cinema, contains writing from Michael Chanan on Cuban cinema, Lucia Nagib on Carlos Diegues and Lisa Shaw on carnivalesque in Brazilian comedies of the '3Os, '4Os and '5Os. …


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