Cinephile is a board-reviewed journal edited by graduate students in the Cinema and Media Studies program at the University of British Columbia. The journal aims to provide a forum to discuss aspects of film theory, history, and criticism, and is intended to provide a platform to share research papers, book reviews, and reports that engage with debates appropriate to film, media, and cultural studies. As a peer-reviewed journal, Cinephile endeavors to promote the Cinema and Media Studies portion of the program as an inclusive but discriminating environment which is dedicated to publishing work of the highest scholarly quality and appeal.

The Cinema and Media Studies program is committed to the academic investigation of critical theory in visual culture, and aims to place its student body and faculty at the forefront of advancing cinema and visual studies as a rigorous academic discipline — particularly as an interdisciplinary phenomenon which explores cinema from varied perspectives. As such, Cinephile will publish all essays and articles it deems of academic relevance, although undergraduate-level writings and film reviews will also be considered on the basis of merit and academic worth. All submissions must follow MLA standards for formatting and layout.

The editors of Cinephile are as follows:

• Spring 2024 – Vol 18 No. 1 – Will Riley & Liam Riley (“(Un)recovering Lost Futures”)
• Summer 2023 – Vol. 17 No. 1 – Tamar Hanstke (“New Lenses on Old Hollywood”)
• Summer 2022 – Vol. 16 No. 1 – Alec Christensen, Andrew Kirby, & Michael Stringer (“Constant/Change”)
• Spring 2021 – Vol. 15 No. 1 – Harrison Wade & Kate Wise (“Cinematic Bodies”)
• Spring 2020 – Vol. 14 No. 1 – Jemma Dashkewytch (“Audiences and Paratexts”)
• Spring 2019 – Vol. 13 No. 1 – Jared Aronoff, Gabrielle Berry, & Zoë S. Sherman (“Low Culture And Mass Media: Narratives of the Mainstream”)
• Spring 2018 – Vol. 12 No. 1 – Morgan Harper & Zoë Laks (“Philosophy and New Media”)
• Spring 2017 – Vol. 11 No. 3 – Matthew Gartner & Amanda Greer (“Adaptations, Translations, Permutations”)
• Spring 2016 – Vol. 11 No. 2 – Hilary Hulsey (“Stardom”)
• Summer 2015 – Vol. 11 No. 1 – Molly Lewis & Angela Walsh (“Visions of the Sixties”)
• Winter 2014 – Vol. 10 No. 2 – Claire Davis (“New Queer Theory in Film & Television”)
• Summer 2014 – Vol. 10 No. 1 – Paula Schneider & Adam Bagatavicius (“Music in Documentary”)
• Winter 2013 – Vol. 9 No. 2 – Kelly St-Laurent & Kevin Hatch (“The Superhero Film”)
• Spring 2013 – Vol. 9 No. 1 – Andrea Brooks & Oliver Kroener (“Reevaluating Television”)
• Fall 2012 – Vol. 8 No. 2 – Chelsea Birks & Dana Keller (“Contemporary Extremism”)
• Spring 2012 – Vol. 8 No. 1 – Babak Tabarraee (“The Voice-Over“)
• Fall 2011 – Vol. 7 No. 2 – Shaun Inouye (“Contemporary Realism“)
• Spring 2011 – Vol. 7 No. 1 – Jonathan A. Cannon (“Reassessing Anime“)
• Fall 2010 – Vol. 6 No. 2 – Dax Sorrenti (“Horror Ad Nauseam”)
• Spring 2010 – Vol. 6 No. 1 – Jessica Hughes (“Sound on Screen”)
• Fall 2009 – Vol. 5 No. 2 – Brent Strang (“The Scene”)
• Spring 2009 – Vol. 5 No. 1 – Colleen Montgomery (“Far From Hollywood: Alternative World Cinema”)
• 2008 – Vol. 4 – Andrew deWaard (“Post-Genre”)
• 2007 – Vol. 3 – R. Colin Tait (“Hollywood Liberalism Today“)
• 2006 – Vol. 2 – Christine Evans (“Theology & the Political”)
• 2005 – Vol. 1 – Brock Poulin (“Gender & Violence”)