Volume 3 - Issue 1 - Editorial

sacrifice-andrei-tarkovsky.jpgThe Sacrifice, 1986

Dark times indeed in which we move, but there are points of light, and eyes that refuse to close and, with news of Ken Loach’s Cannes triumph for The Wind that Shakes the Barley, it is clear there are reasons to be, if not always cheerful, then certainly optimistic that work of matter and integrity can survive the cull of the committed that seems ongoing. And what else can one do except resist and build, even temporary shelters, in the face of so much demolition? There is only stopping otherwise.

It was Horace who, some time ago, observed that “who has begun has half done. Dare to be wise: begin”. And so we do, again. With this issue, the first of volume three, Vertigo becomes a quarterly publication. Our aim is to do all that we have done, but better; to fail better, as Beckett advised in last issue’s editorial. And so, the mission statement, in a sentence, a word? To advocate, for all in the international, independent moving image that we find inspiring, imaginative, innovative. To defend and to promote. To inform and to exchange, with readers and makers, writers and artists.

The magazine is in the process of change – 72 pages now, a larger format, colour cover and inserts and more flexible design and editorial templates to allow for a varied critical and creative approach including longer essays, a wider range of feature articles, regular columns and op-ed pieces. Our timeframe? Past, present tense and future perfect, one hopes...

Vertigo also has a new website featuring monthly uploads of web-exclusive content, links, listings and resources pages, and there will soon be a forum for readers’ debate and a searchable archive of back issues from all three volumes of the magazine.

The first issue of Vertigo was published in 1993, inspired by the mood of independence and groundbreaking, experimental work produced by the range of small production companies which were the legacy of Channel Four. The making environment has changed totally in the meantime, but Vertigo’s commitment has not.

Vertigo exists to promote the most innovative moving image work from across the world: in artists’ film and video, documentary, shorts, features, new media and beyond.

• It aims to encourage critical writing which challenges the divide between image and the existing world, exploring contexts and continents beyond the frame.

• It publishes writers who celebrate the power of the moving image to inspire, to entertain, to challenge and to deepen our understanding of what is feared, desired or in great shift.

Vertigo is a magazine of advocacy, tracking developments in the political and aesthetic environment and campaigning for public and cultural values to deliver a pluralist and diverse film culture.

Vertigo takes the debates on its pages and website into a range of events such as Seasons with John Berger, the Armenian, Gypsy and Commonwealth Film Festivals, and the Independent Film Parliament.

Much of the production which Vertigo supports might remain invisible but for the passion of grassroots initiatives and the commitment of film professionals constantly seeking new ways to circulate film and reach varied audiences through micro-cinemas, festivals, digital distribution, new websites, archival initiatives and more. Similarly, we could not keep going without the support of our funders, the generosity of our writers and artists, those who stock us, and especially the remarkable work of our office team.

Let us know what you are doing and we will aim to keep up. Write and tell us what you think. It is a privilege to publish and we hope that these pages, and those of our website, will provide the space to keep you networked with others working to achieve a diverse, innovative and internationalist film community in this country.

We end this editorial with Pascal. “You would not seek Me if you did not already possess Me” We are in this together. We are only as strong as our readers and makers. Thank you for all you give us.