- Editor in Chief;
Kato Mikiro, Assocaite Professor
of Cinema Studies, Faculty of Integrated Human Studies, Graduate School
of Human and Environmental Studies, University
of Kyoto, Sakyo-ku, Kyoto, 607 Japan
- Associate Editor;
Toki Akihiro, Film
- CMN! (CineMagaziNet!) is
a non-profit online film studies and criticism magazine. Its
editorial policy is as follows:
- CMN! aims to create a radical
language through film studies and criticism.
- The primary object of CMN!
is research on Japanese film history.
- CMN! aims to form links between
culture industry institutions and film studies.
- CMN! is directed towards constructing
a cinematic discursive community.
To explain each of these
ideals in more detail:
- Creating a radical language
means constructing a language based on both objective research
and continuous subjective experience. Critical language is, to
borrow a term from the sciences, a language that reaches the
"critical point," and is different from either powerless
impressionistic criticism or inexperienced subjective criticism.
- Making Japanese film history
the primary object of CMN! is to make central everything unexplained
about the formation and transformation of Japanese film production
and exhibition. This is because there are many areas of Japanese
film history, which will reach its 100th year in 1997, that have
still not been written about. Of course, this editorial direction
need not be limited only to the research object of this publication,
- Forming links between cultural
industry institutions and film studies is to not stop simply
at the level of film research and criticism, but to place in
one's field of vision the connections between film culture and
the film industry as a whole and the social totality of which
they are a part. This means especially to blaze the future of
film culture by offering proposals about the cultural activities
and programs of the film industry or film archives as well as
testing business simulations.
- To aim to construct a cinematic
discursive community is to build an appropriate base for critical
standards regarding cinema. Although film critics often offer
aesthetic judgment on a certain film without having any specific
proof, can our community possess the foundation for objectively
evaluating whether or not the judgments of critics are appropriate?
For an example from experience to be an example, it is necessary
to construct the standards that circulate inside our community.