End(ing) notes: Florence Jacobowitz.
CineAction was founded 30 years ago out of necessity, as a magazine that would publish politicized readings and where theory could be tested against critical practice (instead of simply imposed); we envisioned a place for discussion about value and meaning. CineAction's subtitle-a magazine of radical film criticism & theory-was later dropped, but initially we needed a film magazine open to the appreciation of the political in popular culture and the attendant pleasures found in the cinema.
At the time of CineAction's inception, the author was dead (an editor of Jump Cut commented on my submission of Max Ophuls' Caught, whether I was seriously suggesting that Ophuls intended the lucid critique of women's oppression dramatized in the film) and semiotics didn't always allow for a film's nuance, complexity or ambiguity in its theoretical grid.
CineAction developed its own unique, hybrid identity and found a specialized international readership. It was wonderful to work with colleagues and friends like Robin Wood and Andrew Britton whose criticism I still find inspiring. It has been gratifying to share many articles and issues with Richard Lippe on stars, performance, the art film, the New Wave, the city, and film, many tributes, in memoriam and whatever else we felt deserved acknowledgment. I learnt a lot over the years; for example, I was able to deepen my commitment to Isabelle Huppert through my coverage of TIFF for the magazine.
I still hope CineAction may one day be revived online for the 21st century, but I will miss terribly a tangible, physical magazine that could be found on a newsstand, produced as an object to be touched.