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#1: Shifting Realities


1. What is this?

In Media Res, or IMR FOR SHORT, will be a pure unadulterated 100% cinema related magazine and the best part is that anyone can be part of it and everyone will be able to read it.

It will be first and foremost published online on the CUFA website.

There will be no need for membership to access the Magazine.

We are currently working towards making one issue per term starting this term,  easter 2022.


Head Editor

Chiara S. Ferrari Braun

Assistant Editor

Daisy Samra

Reviews Editor

Izzy Canon

Information Editors

qi qi & Eva Doege

3. How can you get involved?


The team of IMR is currently on the look out for a head designer and a social media manager.

The applications are open until  Wednesday 1st June.

Head Designer


What does the role entail:

  1. They are in charge of securing talent to illustrate the articles.

  2. They share responsibility with the head editor and assistant editor in obtaining permission for images from third-parties should we need it.

  3. They are responsible for proposing layouts for both the website version.

  4. They are to provide promotional content to the different officers in charge of official CUFA Channels should it be requested.


If you are interested in this position please send us an email detailing why you are interested in thE project and a portfolio of your work at this address:, with the subject: Portfolio-Head of design-[Your name]. 






If you are interested in this position please send us an email detailing why you are interested in thE project TO this address:, with the subject: soCIAL mEDIA mANAGER-[Your name]. 

B. writing for us


We are commissioning articles for this issue, looking for people to get inspired by the following premises:

Medium Chronicles:


The Framing of our vision

  • How has framing changed throughout the years?

  • from a technical ​constraint to a fully fledged narration tool?​​



Streaming vs Cinema

  • Looking into the evolution of the tug war between streaming and cinema.

  • Is it still worth it to have a physical space dedicated to film?

  • Has streaming managed to fund and shine a new light of interest into the industry?

  • Is less quality worth the comfort of home or on the move viewing?

  • Has this change of pace benefitted the workers or has it brought more precariousness into an already unstable sector?​

  • Is streaming providing new worthwhile opportunities as a production company and a distributor to less advantaged groups? 

Storytelling: the finite vs the infinite

  • Series have become a finite and ultimately limited medium while movies have overtaken the overarching epic narratives.

  • This reversal has led to a change of approach to serialised projects.

  • Series are now viewed as a gamble for all involved in the project. Pick up petitions for cancelled and dropped projects after one or two seasons have inundated internet.

  • The diminishing number of episodes commissioned for each season begs the question is it still worth it to plan a story in this format without any certainties as to being able to tell it?

  • Yet, some series still continue to air despite reduced audience from its original following.

  • Successful Self-contained stories are also pressured into continuing.

  • How has this instability changed the way stories are crafted and told?

  • How has it changed the film storytelling style to adapt to these unstable parameters?



Censorship, acceptance or illusory normality:Covid’s presence and absence in film

  • Where as COVID gone?

  • We have heard all about behind the scenes complications, frozen projects and massive transmissions on set, but have we actually seen the virus make an appearance on the big and small screen?

Woke Scandals: the Trojan horse of IP based projects

  • Production companies have worked with IP based projects before but it seems that their publicity stunts have changed.

  • Are "woke" based arguments on the internet the new "all publicity is good publicity" poster child?

  • Projects involving long standing fanbases such as Start wars, Lord of the rings, the Witcher, the Wheel of Time, amongst many other seem to relish in the conflict between studio and fans.

  • Are these confrontations fruitful in attracting curious by-standing attention or are they only succeeding in alienating a long-term following?

Representation: the Good, the Bad and the Ugly

  • What is representation and why do we want more of it? 

  • Does having someone in the screen that shares similarities with a wider audience help in getting them invested?

  • Is it enough showing variety without giving meaningful stories to these characters designated as representation nuggets?

  • Is it wrong to demand flawed characterisation for these collectives?

  • Is it okay to swap any characteristic for the sake of diversity even if it does not follow the internal logic of the film?

  • If we justify swapping characteristics on the basis of identification, does that mean we are incapable of empathising with any other cast unless they are just like us?

  • And does that in consequence mean we are consciously taking away characteristics from established characters to make even for previous misrepresentation or lack-of?

  • Is evening the score in the same manner just as toxic as the original practice?

  • New stories are being told from different perspectives and experiences, should we not reward these films rather than demand representation without depth nor thought in blockbusters?

  • Is it possible for us to enforce a change in the checklist mentality of studios?

Talent or Real-life incarnation, do actors have to be what they play?

  • What does an actor do?

  • Do actors have to embody every aspect of the role they are playing?

  • Are they supposed to have lived through what their character has?

  • Is it because cinema is closer to reality to us than theatre that the argument of talent over outward appearance or livelihood is not as valid?

  • Should actors be limited in their range by gender, race, trauma, nationalities, languages...?

  • Would there be any difference in the acting, notable enough for the viewer?

Mainstream Nostalgia: what is the worth of the past?

  • With several franchises, past I.P. and revived cult classics receiving sequels, prequels, reboots and remakes it seems that nostalgia is the new golden egg hen.

  • But have the easter eggs, the fan-service and the constant reminiscence tired out audiences?

  • Are we unable to enjoy something that lacks any previous presence or existence in society without it being tided up to a preexisting corpus of work?

  • Are these renewed iterations of any value to present generations and future ones? 


Should we be rooting for the dark horses in Indie productions?


  • Are indie productions the new hope for all sectors of the industry in terms of creative freedom?

  • Are they Providing a platform for new projects, working on different artifices to most narrations?

  • Are they enabling progress through creative solution making due to lack of funding? Should we be supporting more indie production companies?

  • Or do we run the risk of making them lose their edge?

Is it time to end Award Shows? 

  • In the past years, award shows have consistently showcased corrupt juries, an industry out of touch with their consumers and a lack of interest for the art they are supposed to revere. 

  • do these awards still impact consumption, are they still viewed as a seal of quality?

  • Is it time to end award shows as we know them? Or are we done for good with these ceremonies?

if you are interested in writing one of these articles please submit a first draft to our email:, with the subject: [article name]- [Your name]. Availability will be based on first come first served basis.


If you already have an idea or a fully written article please contact us through the same email or in one of our social media platforms with the subject: article-consultation. Submissions will close on Monday 13th of June (this deadline might be subject to extension, we understand that some people are entering their exam period [our editorial team is also heading for that precipice]).


We all go see movies, be it in the cinema or on the couch. And we all have opinions. 

Do you feel like your view should be heard (well, read in this case), did you come up with a hilarious incorrect summary, did you find a riddle that fits very nicely a film you saw? 

Well this is the place for you. Be it from the past, the present, or an invented possible future production, all are welcome at our magazine.


The Reviews will have a word limit of 200 words, And there will be no submission deadline, because the film industry never sleeps.


Please send it to our email:, with the subject: Review- [Your name]

If you are interested in writing a longer piece on a movie please contact us through the same email or in one of our social media platforms with the subject: review-consultation.