Ekran Magazine

Ekran, a magazine for TV and film, was established in 1962 and is among the oldest magazines of its kind in the region. Beside a critical assessment of films, its basic purpose is to open theoretical discussions on film and related media. Even in its first years, Ekran – thanks to its establishers V. Musek, T. Tršar, and B. Šomen – knew how to lend an ear to modern European cinema, firstly with translations from other languages, and gradually by publishing original pieces. Slovenian film critics and essayists gathered around Ekran significantly contributed to the promotion and assessment of the Yugoslav Black Wave cinema in the sixties (Hladnik, Petrovič, Pavlović, Klopčič, Makavejev).

The magazine then steadily opened to various critical and theoretical tendencies, in the eighties there was a significant prevalence of modern French film theory (Comolli, Bonitzer, Chion, Deleuze). One might even say that this contributed, with plenty of help of the Lacanian concepts, to what is referred to as the “Ljubljana film school” (Vrdlovec, Žižek, Pelko), and Ekran, under the editorial leadership of Silvan Furlan, underwent and caused a true theoretical rebirth. In 1985, the magazine established its own book collection Imago.

In the nineties, the magazine was taken over by Stojan Pelko, and was succeeded by Simon Popek who remained the editor for eight years. Ekran continued to be a space to write about auteur filmmaking, and more attention was paid to genres as well as new, emerging names in the global (and domestic) film scene, with special emphasis on directors and films who are swimming against the tide and writing the modern history of film.

In March 2005, Ekran’s new editor became Nika Bohinc. Ekran’s content and form were revamped, but the magazine was still loyal to its tradition of engaged, serious, responsible writing about cinema. Some new regular sections were introduced, such as Scenoslednik (a walk along the cinema scene from far and beyond), Povečava (Ekran’s selection of current film titles from domestic film distribution), and Fokus (focus on a particular topic); Slovenski film (new Slovenian films, interviews), Kino svet (reports from film festivals), Zrcalo (insider analysis of national cinematographies, interviews), Kontra-plan (essays, theory), Reality-check (reviews of new books on cinema), Poslušalnica, Digitalije (digital film revolution).

In May 2009, the editorial reins were taken by Gorazd Trušnovec. The first double issue was published in the summer of 2009, and by September 2009 Ekran once again became a monthly affair. Since 2009, more attention has been paid to film practice than film theory and the magazine has once again established contact with readers by becoming more communicative, more up-to-date and topical, it featured more interviews and presentations of authors, but most importantly it was published regularly.

Ciril Oberstar has taken over the editing of Ekran in May 2015, and the magazine is once more being published bimonthly. Ekran remains committed to serious and in-depth writing on film or the cinephilic approach. It covers cinema from all views, without prejudice and restrictions.