Camera Obscura

Camera Obscura provides a forum for scholarship and debate on feminism, culture, and media studies. The journal encourages contributions in areas such as the conjunctions of gender, race, class, and sexuality with audiovisual culture; new histories and theories of film, television, video, and digital media; and politically engaged approaches to a range of media practices.Editors

Bishnupriya Ghosh, University of California, Santa Barbara

Lalitha Gopalan, University of Texas at Austin

Lynne Joyrich, Brown University

Homay King, Bryn Mawr College

Bliss Cua Lim, University of Toronto

Constance Penley, University of California, Santa Barbara

Tess Takahashi, York University

Patricia White, Swarthmore College

Sharon Willis, University of Rochester


Since its founding in 1979, Discourse has been committed to publishing work in the theoretical humanities with an emphasis on the critical study of film, literature, the visual arts, and related audiovisual media. The journal seeks contributions that explore the relations of these and other cultural phenomena to questions of language, philosophy, politics, psychoanalysis, history, and area studies, as well as theories of gender, race, and sexuality.

Edited by Luka Arsenjuk, James Cahill, Timothy Holland, and Sara Saljoughi

The liquid blackness journal began in 2014 as an expression of the liquid blackness research group’s commitment to writing about rare art and archival material that the group was entrusted with by groundbreaking black visual artists. The journal grew into a forum for the exploration of audacious methodologies of the formal analysis of blackness in contemporary visual and sonic arts and popular culture at the intersection between the politics and ethics of aesthetics. While aggressively interdisciplinary, and therefore open to a wide array of contributions, the liquid blackness journal seeks to carve out a dedicated place for aesthetic theory and the most radical agenda of Black Studies to come together in productive ways. “Liquidity,” thus designates, among other things, a commitment to generative entanglements and to follow processes of intellectual production that are inspired by the experimental style of the jazz ensemble, which is what Fred Moten and Stefano Harney identified as a productive model for their idea of “black study.”

Editorial Board:

Alessandra Raengo, Georgia State University

Lauren McLeod Cramer, University of Toronto

Sampada Aranke, Ohio State University

Charles, “Chip” Linscott, Ohio University

Walton Muyumba, Indiana University

Michele Prettyman, Fordham University

James Tobias, University of California, Riverside

The Neutral

Graduate Journal of Cinema and Media Studies

World Picture Journal


Brian Price (University of Toronto)

John David Rhodes (University of Cambridge)

Meghan Sutherland (University of Toronto)