Film is an art form that is resistant to stability. Every so often, it dies and then resurrects itself. Kinoculture proposes offering a reading on film as a medium or socio-political apparatus, thoroughly considering and capturing cinema’s contingent emotional, personal, and cultural possibilities—film as art.

Kinoculture is a publication that offers such an opportunity without imposing editorial boundaries, leaving space for convergence and contradiction.

We cite Kinoculture in the very place where we find cinema: the gray area between fact and abstraction. No two films yield the same social, political, and emotional connotations. No two interpretations of a film are identical. Film analysis begins by acknowledging this condition of ambiguity. There is the text and the interpretation we give to it. Kinoculture reconciles the two and allows the inconsistencies to settle around each issue as remnants. 

By cultivating a polyphonic mosaic of personal voices, Kinoculture explores the thematic, aesthetic, philosophical, and historical interpretations, implications, and contexts of film, adding to scholarship and analysis. We trust that by doing so, Kinoculture will contribute to thought-provoking perspectives that further complicate a subjective field.

Grasping cinema’s shifting role in the broader cultural landscape, Kinoculture has no definitive form. Instead, we consider film a launching point for an open-ended exploration of culture, unrestricted by art norms and social or historical narratives.

Now present, Kinoculture remains.

Valerie & Kaveh
Kinoculture Editors
New York, May 2024