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.


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

Discourse: Journal for Theoretical Studies in Media and Culture

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.

General Editor 

James Cahill, University of Toronto


Luka Arsenjuk, University of Maryland

Timothy Holland, Emory University

Sara Saljoughi, University of Toronto

liquid blackness

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.”

Academic Editors

Alessandra Raengo, Georgia State University

Lauren McLeod Cramer, University of Toronto

The Neutral

Graduate Journal of Cinema and Media Studies

The Neutral: Graduate Journal of Cinema and Media Studies is a peer-reviewed graduate student led journal run out of the Cinema Studies Institute at the University of Toronto. Founded in 2018, the journal takes its title from Roland Barthes's concept - the neutral - which names a style of thinking that is not burdened or limited by binary oppositions. Far from a centrist commitment to ideological neutrality, the neutral as both a concept and as the guiding value of this journal represents a posture, disposition, or temperment that is receptive to the new. With this ethic in mind, we welcome submissions related to the study of moving image and other emergent media that engage theory and/or philosophy and/or history equally.

World Picture Journal

world picture is an online, open-access journal that publishes a heterodox selection of invited essays and artworks on a roughly biannual basis. Each issue revolves around a single term that resonates across a range of aesthetic, political, and cultural contexts. Contributors are invited to respond in whatever way they find most illuminating or necessary at the time, and they can address the term directly or obliquely. The format of pieces that we publish is extremely open-ended by design; we accommodate short pieces as well as long ones, from scholars both emerging and established. We are interested in publishing experimental pieces of writing, philosophy, poetry, as well as original works of visual media and interviews. Much of the work that we publish reflects a preoccupation with the relations among moving image media, theory, and continental philosophy from which the journal began, but we remain open to a variety of subjects, methods, and approaches.


Brian Price, University of Toronto

John David Rhodes, University of Cambridge

Meghan Sutherland, University of Toronto

Jules O'Dwyer, University of Cambridge

Veronica Fitzpatrick, Brown University

Elizabeth Wijaya, University of Toronto