This issue of Cinephile aims to further expand the framework within which queer theory exists today. We believe that the application of queer theory to film provides an especially fascinating avenue for pushing such scholarship toward new horizons and it is our hope that
these articles will be at turns passionately defended and argued vehemently against. As Cinephile’s first issue to focus on theory as a lens through which we better understand cinema, we hope these articles will take part in the ongoing ontological and epistemological conversations that lie at the heart of queerness.