Our proposal stems from the idea of creating an instrument for the circulation and comparison of research as well as methodologies and wok programs on an international basis. The science community is more and more acquiring an international dimension, but apart from that the occasions for meeting and for joint planning are still rather scant. In Universities, archives and other centres the work of younger scholars is generally suffering from serious isolation: this journal is aiming at offering its contribution in solving also these problems.

Cinéma&Cie is naturally open to any external contribution. We do not envisage any rigid schemes, program lines in the way of Citizen Kane or “Dogma 95”, but believe however, that there is a reference and guidance framework as background for the journal’s work and orientation thus marking its peculiarity and its place in cinema studies. The following are some of the points we have focused on:

  • A study of early cinema and in more general terms of silent cinema but, above all, the study of the relationship between early cinema, silent cinema and today’s cinema. We are convinced that silent cinema can also be a reference point for contemporary cinema and that the theory of silent cinema can be an important terms of comparison with the theory of today’s cinema.
  • Linkage between the historical/philological and theoretical approach. Comparison between different methods in particular between cinema and other forms of art.
  • Attention to research on cinema as a form of communication, to the history of reception and to the theory of cinema as an institution. Attention to the history of technology.

The journal will be published twice a year and will be only partially monographic. Furthermore it will publish studies carried out or recommended by its partners (New Studies). It will be an instrument for the diffusion of joint scholars, above all for their PhD dissertation (Projects & Abstracts). English and French will be the journal’s main languages.

The title was stolen from Louis Delluc. Perhaps something more…

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