Advertising

For advertising information, call Jennifer Scott at 416 985 4341 or email info@cinema-scope.com or use the contact form below.

What to send

1. Make sure you send us the complete link to the page you want the advert to point to:
Eg: http://www.yourwebsite.com/yourwebpage

2. All files must be labeled correctly with the advertisers’ name, using no spaces or any characters other than letters, numerals or _ –

Example filename: advertiser_number1.jpg

File Specifications and Sizes

Top banner
890 wide by 125 pixels tall at 72 DPI RGB JPG or GIF
File size must not exceed 60k

Side Banner Standard
250 wide by up to 250 pixels tall at 72 DPI RGB JPG or GIF
File size must not exceed 50k

Side Banner Large
250 wide by up to 500 pixels tall at 72 DPI RGB JPG or GIF
File size must not exceed 70k

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From the Magazine

  • Cinema Scope Issue 86 Table of Contents

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  • The Primacy of Perception: Ramon & Silvan Zürcher on The Girl and the Spider

    Near the midpoint of The Girl and the Spider—Ramon and Silvan Zürcher’s overdue, much anticipated follow-up to their masterful debut feature, The Strange Little Cat (2013)—a character launches into another of the Zürcher brothers’ distinctive anecdotal monologues. Mara (Henriette Confurius), who is as close as this film gets to a protagonist, describes for her neighbour, Kerstin (Dagna Litzenberger-Vinet), an incident that occurred the previous day between herself and her newly ex-roommate (and perhaps ex-girlfriend) Lisa (Liliane Amuat). “I was in my room while Lisa was on the toilet,” she recounts. “She asked me to bring her a roll of toilet paper. Instead of giving it to her, I walked past the door from left to right, from Lisa’s point of view.” The image cuts to the scene while she recalls it, privileging us with a more objective account of the incident: a fixed shot showing Mara stand up from her desk, grab a package of toilet paper, and march past the door, her arms outstretched like a zombie. More →

  • Exploded View: Steina & Woody Vasulka

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    When navigating the as-yet-unknown films of a festival program, nationality still provides a persuasive point of reference for some, a feeling underlined by the proud declarations issued by national funding organizations, promotional bodies, or particularly partisan members of the press once titles have been announced. This year’s reduced Berlinale Forum lineup also invites tenuous lines of this kind to be drawn (two films from Argentina, two films from Canada!), although the three Franco-German co-productions shot elsewhere say far more about how films are made in 2021. More →