About The Quarterly

About Us

Two of the most influential — and radically different — journals of the last-half of the 20th century were The Kenyon Review (KR) and the Partisan Review. The Kenyon Review, founded by John Crowe Ransom, espoused the so-called New Criticism. Its platform was avowedly unpolitical. Although Ransom came from the South and published authors from that region, KR also published many New York-based and international authors.

Around 1996, online literary magazines began to appear. At first, some writers and readers dismissed online literary magazines as not equal in quality or prestige to their print counterparts, while others said that these were not properly magazines and were instead ezines. Since then, though, many writers and readers have accepted online literary magazines as another step in the evolution of the independent literary journals. Among the better known online literary magazines are Drunken Boat, Blackbird, Painted Bride Quarterly, 3:AM Magazine, 20×20 magazine, The Barcelona Review, Eclectica Magazine, Failbetter, Guernica Magazine, Identity Theory (webzine), Literary Mama, McSweeney’s Internet Tendency, Monkeybicycle, Sensitive Skin Magazine, Spike Magazine, StorySouth and Word Riot.

Dedicated to founding traditions of excellence, The Hollywood Quarterly , 2011, is renowned for its exclusive creative written and visual content.


“Hollywood Quarterly was so far ahead of its time it seems eclectic even today. Contributors to the journal routinely ranged from those who actually made movies…to those in academia who were at the time only beginning to comprehend the significance of cinema to 20th Century culture…. This anthology offers invaluable insight into the early history of film scholarship, education and perhaps most importantly, industry relations at a most crucial time in motion picture history.”-Jon Lewis, author of Hollywood vs. Hard Core

The first issue of Hollywood Quarterly, in October 1945, marked the appearance of the most significant, successful, and regularly published journal of its kind in the United States. For its entire life, the Quarterly held to the leftist utopianism of its founders, several of whom would later be blacklisted.

The journal attracted a collection of writers unmatched in North American film studies for the heterogeneity of their intellectual and practical concerns: from film, radio, and television industry workers to academics; from Sam Goldwyn, Edith Head, and Chuck Jones to Theodor Adorno and Siegfried Kracauer.