Arkzin (1991–1998) [Croatian, English]

Arkzin was a periodical published in Zagreb, Croatia, from 1991 to 1998. It began as a political fanzine and later on the editorial board widened the scope and included international members and topics. Arkzin gradually changed to a hybrid magazine in which politics, culture, theory and art met, crossed and overlapped.

In total, 106 issues appeared, including eight in English (between April 1993 and January 1994). Five issues of the periodical for critical writing Bastard were published as a supplement to the magazine.

The editors-in-chief of Arkzin were Vesna Janković (I/1-3, II/1-90), Miroslav Ambruš Kiš, Zoran Oštrić (I/1-3), Vladimir Desnica (I/5-6), and Dejan Kršić (II/91-93, III).

PDFs (Monoskop wiki, via MaMa & Human Rights Archive)
See also Prospects of Arkzin catalogue (48 pp, 2013)

Cahiers du Cinéma, vols. 1–4 (1951–78/1985–2000) & Special Issues in English (1966-67)

Cahiers du Cinéma [Notebooks on Cinema] is an influential French film magazine founded in 1951 by André Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca. It developed from the earlier magazine Revue du Cinéma involving members of two Paris film clubs—Objectif 49 (Robert Bresson, Jean Cocteau and Alexandre Astruc, among others) and Ciné-Club du Quartier Latin. Initially edited by Éric Rohmer, it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol and François Truffaut. (from Wikipedia)

This set of four volumes presents selected texts from the years 1951-1978 in English translation.

Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave
An anthology from Cahiers du Cinéma, nos 1–102, April 1951 – December 1959
Edited by Jim Hillier
Publisher Harvard University Press, 1985
ISBN 0674090608
312 pages

Cahiers du Cinéma: 1960-1968: New Wave, New Cinema, Reevaluating Hollywood
An anthology from Cahiers du Cinéma, nos 103–207, January 1960 – December 1968
Edited by Jim Hillier
Publisher Harvard University Press, 1986
ISBN 0674090624
363 pages

Cahiers du Cinéma, Volume 3: 1969-1972: The Politics of Representation
An anthology from Cahiers du Cinéma, nos 210–239, March 1969 – June 1972
Edited by Nick Browne
Publisher Routledge, in association with the British Film Institute, 1990
ISBN 0415029872
352 pages

Cahiers du Cinema, Volume 4: 1973-1978: History, Ideology, Cultural Struggle
An anthology from Cahiers du Cinéma, nos 248–292, September 1973 – September 1978
Edited by David Wilson
With an Introduction by Bérénice Reynaud
Publisher Routledge, in association with the British Film Institute, 2000
ISBN 0415029880
323 pages

Publishers: Volume 1, Volume 2, Volume 3, Volume 4.

Volume 1 (1950s)
Volume 2 (1960-1968)
Volume 3 (1969-1972)
Volume 4 (1973-1978)

Cahiers du Cinema in English, ed. Andrew Sarris:
Number 1 (Jan 1966, 74 pp, 57 MB, via chef, added 2015-1-11),
Number 2 (Mar 1966, 82 pp, 65 MB, via chef, added 2015-1-12),
Number 3 (May 1966, 74 pp, 63 MB, via chef, added 2015-1-16),
Number 4 (Jul 1966, 66 pp, 57 MB, via chef, added 2015-1-16),
Number 5 (Sep 1966, 65 pp, 56 MB, via chef, added 2015-1-16),
Number 6 (Dec 1966, 66 pp, 57 MB, via chef, added 2015-1-16),
Number 7 (Jan 1967, 66 pp, 61 MB, via chef, added 2015-1-16),
Number 8 (Feb 1967, 68 pp, 44 MB, via LtJ),
Number 9 (Mar 1967, 65 pp, 59 MB, via chef, added 2015-1-17),
Number 10 (May 1967, 68 pp, 43 MB, via LtJ),
Number 11 (Sep 1967, 68 pp, 43 MB, via LtJ)
Number 12 (Dec 1967, 66 pp, 60 MB, via chef, added 2015-1-18)

See also: Daniel Fairfax: The Red Years of Cahiers du cinéma, 1968-1973 (2021).

Der Sturm (1910–1932) [German]

Der Sturm [The Storm] was a magazine covering the expressionism movement founded in Berlin in 1910 by Herwarth Walden. It ran weekly until monthly in 1914, and became a quarterly in 1924 until it ceased publication in 1932.

Among the literary contributors were Peter Altenberg, Max Brod, Richard Dehmel, Alfred Döblin, Anatole France, Knut Hamsun, Arno Holz, Karl Kraus, Selma Lagerlöf, Adolf Loos, Heinrich Mann, Paul Scheerbart, and René Schickele. Der Sturm consisted of pieces such as expressionistic dramas (i.e. from Hermann Essig and August Stramm), artistic portfolios (Oskar Kokoschka), essays from artists (the Kandinsky Album), and theoretical writings on art from Herwarth Walden. The term Sturm was branded by Walden to represent the way in which modern art was penetrating Germany at the time. (from Wikipedia)

Der Sturm at Monoskop wiki

View online (all 336 issues with a full-text search, at the Princeton University’s Blue Mountain Project)