Academic journal article Millennium Film Journal

Editors' Note

Academic journal article Millennium Film Journal

Editors' Note

Article excerpt

With this issue, the Millennium Film Journal takes on a new look. The design update, executed with precision and delicacy by Shona Masarin, is intended to reflect an evolution of the conception of the journal's currency, its audiences and its general place in the world of culture. While we are still and always fundamentally linked to the history of the avant-garde film, we also recognize that contemporary artists use the moving image in many different ways, while even the medium itself takes on multiple personalities. And how could we think to maintain our connection to such vibrancy without altering our wardrobe?

We are updating a design that was developed in the early 1 990s, when we still sent out typed copies of our articles to be re-keyed by a professional typesetter on a dedicated machine, and we placed images by hand - instead of the click of a mouse. That design concept changed little when we adopted digital page design in 1992, though a new visual fluidity and airiness of the pages quickly became apparent. Since its inception in the 1970s, the Millennium Film Journal has documented the multiple transformations of the cinematic in the hands of artists, giving a voice to a community that tended toward marginality. The redesign of 1990 reflected the beginnings of a shift in culture, as a broader swath of artists began to use moving images, and the status of artists' film and video began to change.

And this status, more accurately- these statuses continue to change. At this point in history, moving images surface not only in multiple locations, but in different kinds of place, from huge outdoor public projections to the intimacy of the mobile phone, to indicate just two extremes of many. …

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