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Odds: Cashing out, Clooney, torture!

Mike White (not that Mike White) is, after 14 years of running definitive film zine Cashiers du Cinemart, calling it quits for financial reasons. He adds that all is not necessarily lost: The idea may continue in some form or another in the future. I'm still not fully committed to web publishing for longer articles, holding on to the idea that print remains the best medium for reading. I'm looking into options of various "print on demand" services that will eliminate some of the heartache and headaches of publishing and distribution while passing on the cost to my faithful readers. For that, my bank account will thank you. In other words, there may be a Cashiers du Cinemart #16, but it sure won't look or show up like the last fifteen issues. The zine may be down, but not completely out. Take a trip back to the glory days of...

Mike White (not that Mike White) is, after 14 years of running definitive film zine Cashiers du Cinemart, calling it quits for financial reasons. He adds that all is not necessarily lost:

The idea may continue in some form or another in the future. I’m still not fully committed to web publishing for longer articles, holding on to the idea that print remains the best medium for reading. I’m looking into options of various “print on demand” services that will eliminate some of the heartache and headaches of publishing and distribution while passing on the cost to my faithful readers. For that, my bank account will thank you. In other words, there may be a Cashiers du Cinemart #16, but it sure won’t look or show up like the last fifteen issues. The zine may be down, but not completely out.

Take a trip back to the glory days of 1994 with this article from issue #1, a torrid tale of Chris Gore, Blockbuster Video, “City on Fire,” Quentin Tarantino and the creation of the video “Who do you think you’re fooling?”

At Esquire, A.J. Jacobs gets George Clooney to Google himself, read his own Wikipedia entry and watch “2 Girls 1 Cup.” It is, I must admit, a bizarrely brilliant interview technique.

David Givens (not that David Givens) at The Believer dwells on memory, faces on film and snow — I wouldn’t want to give it more of a description than that. It is, like many of The Believer‘s essays, a little too blurry, verging on twee, but ultimately lovely.

And in the New Yorker, Philip Gourevitch and Errol Morris preempt Morris’ upcoming doc “Standard Operating Procedure” with an article on Sabrina Harman and the Abu Ghraib rules.

[Photo: Cashiers du Cinemart, Issue #15]

+ Down But Not Out (Cashiers du Cinemart)
+ The 9:10 to Crazyland (Esquire)
+ NO SHELL, JUST A GHOST (The Believer)
+ Exposure (New Yorker)

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