You are viewing the current revision of this article.
To see the canonical URL, visit: Go to Latest Version

Cinefex

Cinefex was an American quarterly (later bimonthly) magazine devoted to motion picture visual effects and behind-the-scenes filmmaking techniques. It was founded in 1980 by publisher Don Shay, premiering with a first issue that examined the effects of Alien (1979) and Star Trek: The Motion Picture (1979) (Cinefex - Wikipedia). Subtitled “the journal of cinematic illusions,” Cinefex was created to chronicle the emerging field of special effects with unprecedented depth, serving as both a trade journal and a collector's archive of movie magic ( 'Cinefex' Magazine Shuts Down after Four Decades | Animation Magazine). Over four decades, the magazine became highly regarded in the visual effects (VFX) industry for its detailed coverage and has been described as a “bible” for effects professionals and enthusiasts (Access over 30 Years of VFX Knowledge and History with Digital Cinefex Classic Collection | No Film School). {{DownloadsBox Hash=d4e5f6g7h8i9j0k1l2m3n4o5p6q7r8s9t0u1v2w3|Description=From electronic source.}}

Origins and Background

Cinefex launched in March 1980 in Riverside, California, born from Don Shay's passion for visual effects and film history (Cinefex - Wikipedia). Shay, a writer on special effects (he had previously authored extensive articles on classic effects like King Kong and Close Encounters of the Third Kind), envisioned a publication that would treat cinematic illusions with a rigorous, behind-the-scenes focus. At the time, few mainstream film magazines offered in-depth technical coverage of how fantastical on-screen images were created. Cinefex filled this niche, aiming to document the artistry of special effects makeup, model work, optical compositing, and the nascent field of computer graphics. The magazine's title is a portmanteau of “cinema” and “effects,” reflecting its mission to explore the magic of movie visuals. Shay produced the first issue essentially single-handedly, setting the tone for a journalistic yet enthusiastic chronicle of the VFX industry (Cinefex - Wikipedia). Early issues immediately found an audience among filmmakers and hobbyists, establishing Cinefex as an authoritative record of effects work in contemporary cinema. The magazine's role in the industry grew quickly; it was not just reporting on visual effects, but also advocating for the recognition of effects artists by preserving their stories in print.

Editorial Focus and Publishing History

From its inception, Cinefex adopted a unique editorial format: each issue contained several lengthy, deep-dive articles focusing on the visual and special effects of specific films (often science fiction, fantasy, or other effects-heavy genres) (Cinefex - Wikipedia). Articles were typically based on exclusive interviews with the effects supervisors, artists, and technicians who worked on a film, combined with meticulous descriptions of their creative and technical processes. A hallmark of Cinefex was the plethora of behind-the-scenes photographs accompanying each article, showing stages of effects work from early concept art and previsualization through miniature construction, prosthetic makeup application, on-set shooting, and final compositing (Cinefex - Wikipedia). This visual documentation gave readers a step-by-step look at how iconic sequences were made. Notably, Cinefex printed in an unusual 8×9 inch format—smaller than a typical magazine—to better approximate the film frame aspect ratio in its images, an aesthetic choice by Shay to showcase widescreen film stills without extreme cropping (Cinefex - Wikipedia). The covers of the magazine were typically text-free (aside from the logo and issue number), letting a striking effects image speak for itself. Originally published quarterly, Cinefex maintained that schedule for over 35 years (Cinefex - Wikipedia). For its first decade, the magazine was entirely reader-supported and carried no advertising; this limited budget but ensured editorial independence (Cinefex - Wikipedia). In 1990, as interest grew, Cinefex began accepting select industry advertising, allowing Shay to expand his team (Cinefex - Wikipedia). Veteran film journalist Jody Duncan was brought on as editor in the early 1990s, having been the magazine's most prolific writer, and she eventually became the long-time Editor-in-Chief (Cinefex - Wikipedia). Additional staff writers like Joe Fordham (who joined in 2001) were hired as the publication matured (Cinefex - Wikipedia). Despite its niche subject, Cinefex managed to thrive even as other print film journals struggled; at one point The Hollywood Reporter dubbed it a “niche survivor” as it continued where bigger general-interest magazines folded (Cinefex - Wikipedia). In 2016, Cinefex shifted its frequency to bimonthly, publishing six issues per year, in response to both its stable readership and the increasing number of effects-driven projects to cover (Cinefex - Wikipedia) (Cinefex - Wikipedia). Throughout its run, Cinefex documented the evolution of special effects from the practical era into the digital age. Early 1980s issues covered pioneering motion-control camera techniques and optical compositing breakthroughs in films like The Empire Strikes Back (1980) (Cinefex - Wikipedia). As the years progressed, the magazine's articles chronicled milestones such as the revolution in computer-generated imagery (CGI) heralded by Terminator 2: Judgment Day (1991) and Jurassic Park (1993) (Cinefex - Wikipedia). In the 2000s, Cinefex features explored advancements in performance capture and 3D animation, exemplified by coverage of Gollum in The Lord of the Rings and the groundbreaking techniques behind Avatar (2009) (Cinefex - Wikipedia). Each issue serves as a time capsule of state-of-the-art effects of its era, often including extensive technical detail on everything from traditional matte paintings and miniatures to the latest CGI rendering software. Over 172 issues, Cinefex amassed an unparalleled archive of VFX knowledge, effectively mapping the history of modern special effects one film at a time. Notable issues include its double-length Star Wars special (which coincided with the Return of the Jedi era) and issues devoted to landmark effects films like E.T. the Extra-Terrestrial, The Abyss, Jurassic Park, Titanic, The Matrix, and The Avengers, among many others – all of which were covered in exhaustive detail in the magazine's pages (Cinefex - Wikipedia). The consistency and depth of coverage meant that across four decades, Cinefex not only reported on cutting-edge techniques but also preserved the narrative of how film magic was achieved, project by project.

Cultural Impact and Industry Influence

Within the film industry – especially in Hollywood's visual effects community – Cinefex was revered as more than just a magazine; it became an indispensable institution. From early on, professionals recognized Cinefex as the authoritative record of effects work, and aspiring artists treated it as an educational resource. In a 2001 Variety piece celebrating the magazine's 20th anniversary, journalist Ramin Zahed praised Cinefex as “one of the top chroniclers of the advancements in the visual effects industry” (Cinefex - Wikipedia), noting that it was one of the few places to find accurate information on the craft's innovations and credits. The publication earned a reputation for thoroughness and accuracy – writers often allowed VFX artists to review technical details in draft articles to ensure fidelity to complex processes (Cinefex - Wikipedia). As a result, the VFX community trusted Cinefex to get the story right. Many in the industry affectionately dubbed Cinefex the “VFX bible.” It was common to find well-worn stacks of back issues in the offices of visual effects companies; veteran effects supervisors and newcomers alike would reference past Cinefex articles for insight or inspiration (Episode 170 — Cinefex Magazine, PART I – Allan McKay | Podcast | VFX Supervisor). Allan McKay, a VFX supervisor, reflected that a lot of practitioners “grew up” on the magazine, calling it “the backbone of our business, even before the internet” (Episode 170 — Cinefex Magazine, PART I – Allan McKay | Podcast | VFX Supervisor). The magazine also significantly influenced students and enthusiasts. Film scholar Julie Turnock wrote that Cinefex played an important role for those hoping to join the effects industry, as well as for researchers studying it (Cinefex - Wikipedia). She characterized Cinefex as a fan-oriented yet highly informative publication – one that sometimes presented effects work in an idealized light to maintain studio access, but nonetheless provided invaluable technical documentation (Cinefex - Wikipedia). The broader film world acknowledged Cinefex for its contributions. In 2004 the Visual Effects Society (VES) honored founder Don Shay with its Board of Directors Award for “illuminating the field of visual effects” through his role as publisher (Cinefex - Wikipedia). Cinefex staffers like Jody Duncan and Joe Fordham also became respected figures, often consulted for their historical knowledge of VFX. The magazine's articles were frequently cited in books and documentaries about filmmaking, further cementing its status as a definitive source. Even as digital media emerged, Cinefex maintained a prestige in Hollywood; a mention or feature in its pages was considered a badge of honor for VFX teams. By focusing on the artistry and problem-solving behind effects (rather than film reviews or gossip), Cinefex elevated the discourse around visual effects, treating the field with a seriousness that helped legitimize it as a vital component of modern filmmaking. Its influence is evident in the generation of artists who credit Cinefex as a key inspiration for their careers, and in the detailed making-of blogs and featurettes that followed in the internet age, many of which took cues from the style and standards Cinefex set.

Localized Editions and International Versions

To serve readers overseas, Cinefex saw several international and localized editions over the years. These were licensed translations or region-specific versions of the magazine, often featuring content from the U.S. edition adapted for local audiences. The most significant were in Japan, which had multiple runs of Cinefex:

Japan: First published in 1983 (with a Japanese-language edition of Cinefex debuting in autumn 1983) and ran through 1985, totaling 12 issues in its initial run (Cinefex | Memory Alpha | Fandom) (Cinefex | Memory Alpha | Fandom). A Cinefex Japan relaunch occurred in 1993, running until 2003 (39 issues), and a second relaunch ran from 2006 to 2017 (47 issues) (Cinefex | Memory Alpha | Fandom) (Cinefex | Memory Alpha | Fandom). These Japanese editions, initially published by a local partner (such as Bandai in the 1980s and later by Toys Press and Born Digital Inc.), translated Cinefex articles for Japanese readers and occasionally featured region-specific content (for example, coverage of domestically relevant films or local VFX contributions).
France: A French-language edition of Cinefex was published between 1989 and 1990, producing 5 issues, with a brief revival via a single additional issue in 1992 (Cinefex | Memory Alpha | Fandom) (Cinefex | Memory Alpha | Fandom). This short-lived French version (published by LGK Presse) indicated the interest in Europe for Cinefex’s content, though sustaining a dedicated edition proved difficult.
Italy: An Italian edition ran from 2001 to 2006, yielding 7 issues in total (Cinefex | Memory Alpha | Fandom) (Cinefex | Memory Alpha | Fandom). It was overseen by editor Pierfilippo Siena and catered to Italy's film and effects community with translated articles from the original magazine.
Russia: A Russian version of Cinefex was launched in the 2010s (published by Cinema Line LLC). It had a longer run than some other local versions – at least 29 Russian-language issues were known to have been published by early 2012 (Cinefex | Memory Alpha | Fandom). The Russian edition often lagged slightly behind the U.S. in content, but it provided Cyrillic translations of major Cinefex articles and served a growing VFX community in Russia.
China: In 2015, a Chinese-language Cinefex saw a very limited release (reportedly just a single issue in July 2015) (Cinefex | Memory Alpha | Fandom) (Cinefex | Memory Alpha | Fandom). This issue was an experiment to gauge interest in China's burgeoning effects industry, but no further issues followed. A Chinese publisher (Dexter Publishing) handled that release. Aside from language and occasional localized prefaces, these international editions mostly mirrored the content of the U.S. magazine, translating the in-depth articles and using the same iconic photography. However, distribution was often limited to those countries, making some of these editions rare collectibles today. Each localized Cinefex underscored the global appeal of Hollywood visual effects and the universal interest in how those illusions were crafted. Despite their generally short runs (especially compared to the U.S. edition's 172 issues), the international versions extended Cinefex’s influence and made its trove of knowledge accessible to non-English-speaking readers (Cinefex | Memory Alpha | Fandom) (Cinefex | Memory Alpha | Fandom). In Japan, for instance, the magazine's presence in the 1980s and again in the 90s helped nurture an appreciation for Western and Japanese special effects alike, coinciding with the heyday of anime and tokusatsu effects. Overall, these editions are a testament to Cinefex’s reputation; even in markets with their own film industries, there was a desire to read this “cinematic illusions” journal in one's native language.

Spin-offs and Other Publications

Over the years, the Cinefex brand expanded beyond the core print magazine into various spin-offs and related projects. One notable extension was the Cinefex Blog, launched on the magazine's website in October 2013. Staff writer Graham Edwards began writing online blog articles that complemented the print issues (Cinefex - Wikipedia). These blog posts included additional interviews, coverage of smaller-scale projects, and a series called “Revisiting Cinefex” in which Edwards looked back at classic issues, reflecting on how the VFX techniques described had stood the test of time. The blog allowed Cinefex to engage with readers between print issues and cover timely topics in the rapidly evolving effects world. In terms of print spin-offs, Cinefex occasionally produced special issue compilations or contributed to books on visual effects. For example, the 20th Anniversary Issue (#80, January 2000) included a retrospective of the magazine's two decades of coverage. Cinefex writers and editors also authored or co-authored several notable behind-the-scenes books separate from the magazine – such as The Making of Jurassic Park and The Making of Terminator 2 (both co-written by Don Shay and Jody Duncan in the 1990s) – though these were published by outside publishers and not under the Cinefex imprint. Still, they exemplified the Cinefex team's expertise being applied to comprehensive “making-of” chronicles in book form, further spreading the magazine's ethos of detailed VFX journalism. The most significant Cinefex-branded spin-off came with the digital revolution. In the late 2000s, as readers increasingly turned to tablets and e-readers, Cinefex began offering digital editions. In 2009 the publishers experimented with an online version of the magazine, and by 2011 they launched the official Cinefex App for Apple iPads (Cinefex - Wikipedia). Starting with issue #127 (October 2011), every new issue was released in an interactive digital format alongside the print copy (Cinefex - Wikipedia). The Cinefex iPad edition was more than a simple PDF replica – it featured enhanced content such as embedded videos, 360-degree animations, and clickable before-and-after image sliders to illustrate VFX shots (Cinefex - Wikipedia). This allowed readers to, for instance, scrub through layers of a composite or view a model at various stages, enriching the educational value. Over time, the Cinefex app team also converted a large number of older back issues into digital form, so that new readers could purchase and download past classics directly within the app (Cinefex - Wikipedia). By the mid-2010s, the app had become an extensive digital library of Cinefex, bringing the magazine to a global audience without the constraints of print shipping. To accelerate the digitization of its vast back catalog, Cinefex undertook a crowdfunding initiative. In mid-2013, a Kickstarter campaign was launched by New Scribbler Press (the developers behind the Cinefex app) to fund what they called the Cinefex Classic Collection – a project to digitize the magazine's entire run from 1980 through 2013 and integrate it into the app (Access over 30 Years of VFX Knowledge and History with Digital Cinefex Classic Collection | No Film School) (Access over 30 Years of VFX Knowledge and History with Digital Cinefex Classic Collection | No Film School). The campaign's pitch invited fans to “carry the entire history of modern visual effects with you on your iPad,” highlighting that Cinefex is a time capsule of VFX knowledge (Access over 30 Years of VFX Knowledge and History with Digital Cinefex Classic Collection | No Film School). The Kickstarter was successful, exceeding its funding goal; by its conclusion in August 2013, it had raised around $297,000 (well above the $217k goal) from over 1,800 backers, reflecting the passionate support of the VFX community. As a result, the magazine's first 126 issues (covering 1980 up through 2011) were meticulously scanned, licensed, and formatted for the digital platform ([R] Cinefex Magazine 1980-2020 : r/DHExchange) (Access over 30 Years of VFX Knowledge and History with Digital Cinefex Classic Collection | No Film School). This meant that for the first time, rare early issues – long out of print in paper form – became easily accessible to anyone with the app. The Cinefex Classic Collection project also involved collaborations and endorsements from industry figures; for example, ILM's John Knoll and FX artist Adam Savage appeared in promotional materials, attesting to the magazine's importance. By 2014, the Cinefex app contained nearly the entire archive of the magazine's articles, searchable and at readers' fingertips, fulfilling a long-held wish of fans and researchers. Beyond the magazine and its digital incarnations, Cinefex maintained its presence through occasional special publications. In 2014, the magazine celebrated its 35th anniversary with a special event (co-hosted by the Visual Effects Society) that featured a panel of VFX luminaries and Cinefex staff reflecting on the magazine's legacy (Cinefex - Wikipedia). While not a published work, this event was later made available online and stands as a companion piece to Cinefex’s written history. Additionally, Cinefex content has been compiled in academic course packets, cited in numerous film studies papers, and even spun off into a short-lived Japanese Cinefex video series in the 1980s (which accompanied the Japanese edition). In all these ways, Cinefex extended its reach far beyond a quarterly print journal – it became a multi-platform resource and a brand synonymous with the art and science of visual effects storytelling.

Transition to Digital and Closure

By the late 2010s, Cinefex had successfully transitioned into the digital era, but it continued to publish its print edition in parallel. The magazine's embrace of digital formats (through the iPad app and online content) kept it relevant even as print magazine readership declined generally. In fact, after the 2013 Kickstarter digitization, many readers enjoyed Cinefex exclusively on tablets, while collectors still cherished the physical issues. The publication managed to outlive many other film journals, thanks in part to its strong niche audience and the high quality of its content. In 2016, under publisher Gregg Shay (Don Shay's son, who took over ownership in 2015), Cinefex increased frequency to bimonthly, signaling confidence in its sustainability (Cinefex - Wikipedia). However, the magazine's fortunes changed dramatically with the onset of the COVID-19 pandemic in 2020. As the pandemic spread, film and TV production worldwide came to a near-standstill for months, which meant fewer new releases and delayed projects – essentially drying up the new material that Cinefex would cover. Simultaneously, the economic impact of the pandemic hit publishing and advertising hard. In early 2021, Cinefex announced that it would cease publication after an astonishing 41-year run (Leading VFX Publication 'Cinefex' Ceases After 41 Years, A Victim Of Coronavirus). In a heartfelt public statement, publisher Gregg Shay cited the “intense turmoil and uncertainty” caused by COVID-19: the crisis had deprived Cinefex of content (with big VFX-driven films postponed, there were fewer timely subjects to fill the magazine), of retail outlets (bookstores and newsstands were closed for lockdowns), and crucially of advertisers (the film studios and effects companies that normally purchased ads were themselves cutting costs) (Leading VFX Publication 'Cinefex' Ceases After 41 Years, A Victim Of Coronavirus) (Cinefex closes down - CGPress). After pausing publication for several months in 2020, the team eventually concluded that the business could not survive the prolonged disruptions. Issue #172 (cover-dated February 2021) became the final issue of Cinefex, featuring The Mandalorian on its cover and in-depth articles on the VFX of several recent productions (including Star Trek: Discovery and Mank) ( 'Cinefex' Magazine Shuts Down after Four Decades | Animation Magazine). The issue's editor's letter served as a farewell, thanking readers and contributors for four decades of support (Leading VFX Publication 'Cinefex' Ceases After 41 Years, A Victim Of Coronavirus) (Leading VFX Publication 'Cinefex' Ceases After 41 Years, A Victim Of Coronavirus). Hollywood professionals and fans reacted to the news of Cinefex’s closure with an outpouring of tributes on social media, underscoring how influential the magazine had been in educating and inspiring so many in the field of visual effects. Although the Cinefex staff disbanded and no new issues were printed after 2021, the legacy of the magazine continued through its archival availability. At the time of the shutdown, the publishers noted that all existing issues would remain accessible via the Cinefex iOS app, allowing longtime subscribers to keep their digital libraries. Indeed, for a while the Cinefex app functioned as an archive of all 172 issues. However, by 2022, the app had fallen out of date (it was not updated past iOS 16), and with Apple's release of iOS 17, the application stopped functioning properly (CineFex Magazine 2021, No.172 : Don Shay, Gregg Shay : Free Download, Borrow, and Streaming : Internet Archive). The official Cinefex website and support pages went offline, effectively cutting off legal access to the magazine's content in digital form (CineFex Magazine 2021, No.172 : Don Shay, Gregg Shay : Free Download, Borrow, and Streaming : Internet Archive). In response, preservation efforts emerged from the fan and academic community. Recognizing Cinefex as a crucial historical record of the film industry, archivists and enthusiasts have begun uploading the full run of issues to digital archives (such as the Internet Archive) with the goal of ensuring future generations can access this trove of VFX knowledge (CineFex Magazine 2021, No.172 : Don Shay, Gregg Shay : Free Download, Borrow, and Streaming : Internet Archive) (CineFex Magazine 2021, No.172 : Don Shay, Gregg Shay : Free Download, Borrow, and Streaming : Internet Archive). These efforts are ongoing, with volunteers scanning print copies and compiling metadata to credit the authors and artists behind each article. The positive news for researchers is that Cinefex’s 40-year catalog will not be lost to time; its pages – whether in libraries, personal collections, or online repositories – continue to “illuminate the field of visual effects,” just as Don Shay set out to do in 1980. The closure of the magazine marked the end of an era, but the legacy of Cinefex endures as an invaluable resource on the art, science, and history of cinematic illusions.

References

Wikipedia – Cinefex: Cinefex wiki page, detailing the magazine's history and characteristics (Cinefex - Wikipedia) (Cinefex - Wikipedia). (Founder: Don Shay; first issue in March 1980 covering Alien and Star Trek: The Motion Picture; focus on detailed VFX coverage.)
Animation Magazine (Feb 24, 2021) – “Cinefex Magazine Shuts Down after Four Decades”: Article by Mercedes Milligan announcing Cinefex’s closure ( 'Cinefex' Magazine Shuts Down after Four Decades | Animation Magazine). (Mentions 40th anniversary, final issue #172 with The Mandalorian cover, and quotes Cinefex as “the journal of cinematic illusions.”)
No Film School (Jul 20, 2013) – “Access over 30 Years of VFX Knowledge… with Digital Cinefex Classic Collection”: Article by V. Renée about the Cinefex Kickstarter project (Access over 30 Years of VFX Knowledge and History with Digital Cinefex Classic Collection | No Film School). (Describes Cinefex as the go-to resource for VFX artists, a “visual effects ‘bible’” and time capsule of movie magic, and outlines the plan to digitize the entire catalog.)
Allan McKay Podcast Episode 170 (Dec 2018) – Interview with Cinefex Writers: Transcript excerpt (Episode 170 — Cinefex Magazine, PART I – Allan McKay | Podcast | VFX Supervisor). (VFX supervisor Allan McKay remarks that Cinefex has been the “backbone” of the business, with many professionals keeping stacks of issues on their desks; underscores the magazine's status among VFX artists.)
Variety (Feb 22, 2001) – “Cinefex” review by Ramin Zahed: Variety article celebrating Cinefex’s 20th year (Cinefex - Wikipedia). (Calls Cinefex “one of the top chroniclers of… the visual effects industry” and a reliable source for special effects information and credits.)
Turnock, Julie A. – The Empire of Effects (book, 2022): Academic discussion of Cinefex’s role (Cinefex - Wikipedia). (Notes that Cinefex has been important to aspiring effects artists and scholars, while also highlighting its industry-friendly, fan-oriented tone that sometimes presented an idealized view of effects production.)
Visual Effects Society – Board of Directors Award 2004: VES press release (2004) honoring Don Shay (Cinefex - Wikipedia). (Cites Shay's achievement in “illuminating the field of visual effects” through Cinefex, showing industry recognition of the magazine's impact.)
Memory Alpha (Star Trek wiki) – Cinefex article: Details on international editions of Cinefex (Cinefex | Memory Alpha | Fandom) (Cinefex | Memory Alpha | Fandom). (Provides publication dates and issue counts for Japanese, French, Italian, Russian, and Chinese editions of Cinefex. E.g., Japan had 12 issues in 1983–85, plus 39 in 1993–2003 and 47 in 2006–2017; France 5+1 issues in 1989–92; Italy 7 issues 2001–06; Russia ~29 issues by 2012; China 1 issue in 2015.)
Cinefex (official) – Digital Edition FAQ (2012) [Archived]: Explanation of Cinefex’s digital initiatives (Cinefex - Wikipedia) (Cinefex - Wikipedia). (Confirms the 2009 launch of an online edition, the iPad release with issue 127 in 2011, and the inclusion of interactive features and back-issue conversions in the Cinefex app.)
Kickstarter – Cinefex Classic Collection (2013) [Campaign page]: New Scribbler Press campaign details (Access over 30 Years of VFX Knowledge and History with Digital Cinefex Classic Collection | No Film School). (Campaign raised funds to license and convert Cinefex issues 1–126 into a new digital format for the app; describes need for funding to cover archival conversion.)
Cartoon Brew (Feb 23, 2021) – “Cinefex Ceases After 41 Years, A Victim of Coronavirus”: News post by Amid Amidi (Leading VFX Publication 'Cinefex' Ceases After 41 Years, A Victim Of Coronavirus) (Leading VFX Publication 'Cinefex' Ceases After 41 Years, A Victim Of Coronavirus). (Reports Cinefex’s shutdown announcement, noting it was the standard for VFX journalism and that the publisher cited COVID-19's economic impact – loss of subject matter, outlets, and advertisers – as the cause.)
CGPress (Feb 26, 2021) – “Cinefex closes down”: Industry news brief (Cinefex closes down - CGPress). (Reiterates that Cinefex closed after 41 years, with the official announcement blaming the coronavirus pandemic for depriving the mag of content, sales, and ads; confirms Issue 172 was the last.)
Internet Archive – Cinefex Issue 172 description (2021/2024): Archive.org preservation note (CineFex Magazine 2021, No.172 : Don Shay, Gregg Shay : Free Download, Borrow, and Streaming : Internet Archive) (CineFex Magazine 2021, No.172 : Don Shay, Gregg Shay : Free Download, Borrow, and Streaming : Internet Archive). (States that the entire 40-year catalog remained available via the iOS app until iOS 17 rendered the app non-functional, leaving a void that is now being filled by fan-driven uploads of all issues to archive the publication for posterity.)

Published on: 01 March 2025 07:52

Edit