Film International started in 1973 as Filmhäftet in Sweden and has through the years recruited contributors among the most distinguished scholars and journalists around the world.
The last issue of Filmhäftet (no. 124) came out in November 2002. In 2003 the journal changed its name to Film International and became an all-English edition.
Film International covers film culture as part of the broader culture, history and economy of society. We address topics of contemporary relevance from historically informed perspectives. We wish to bridge the gap between the academy and the outside world, and encourage the participation of scholars from a variety of disciplines, as well as journalists, freelance writers, activists and film-makers.
We refuse the facile dichotomies of ‘high’ and ‘low’, Hollywood and independent, art and commercial cinema. We discuss Hollywood films seriously, and ‘art’ movies critically. We aim at becoming a truly international journal, recognising local specificities, but also the ultimate interconnectedness of an increasingly globalised world.
The printed edition of Film International focuses on longer essays with in-depth analysis, but we also feature interviews, festival reports and essay reviews of film books, DVD releases and films at the cinema. General reviews are published in our webzine along with exclusive texts of all the above categories.
As of 2014 we publish four issues of 136 pages per year in print, as well as our webzine which is regularly updated with exclusive material.
The views and opinions of all signed texts are those of the authors, and do not necessarily represent or reflect those of the board of editors.
Potential contributors are invited to read and consider this.