Day for Night began in 2019 as a twinkling in the eye of the Kino film club, an extracurricular association of friends and colleagues dedicated to celebrating world cinema. The original members-cum-editors apply interdisciplinary lenses (literature, philosophy, theory, architecture) to our beloved cinematic medium.
Based at the University of North Georgia, Day for Night serves as a forum for critical voices near and far. Let this journal be a record of the curious scribblings of fanatics and an amalgamation of thoughts and observations. We hope to foster critical appreciation of film, and we vow to evolve the journal with our writers’ plural views and differing angles. We encourage discussion in transmedia forms – text, visual argumentation, video essays, and graphic arts.
By no means is this journal to be a watchdog of modern releases and blockbusters. Nor is it intended to engender division between high and low art. Rather, it is a place for students and independent scholars to reflect on cinema at large, untethered from time and space. We welcome historical deep dives; yet we aim to loosen the canon. We welcome traditional film reviews; yet we seek creative viewpoints. We embrace scholars, rogue academics, rebels, punks, and oddballs. The writers and editors of this journal are gathered because we love film, and we are here to celebrate its essence.
(Lest it seem that over-analysis will destroy the beauty of film, we assure you, reader: our analyses are love-songs.)