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'''''Cinefantastique''''' was a [[Horror fiction|horror]], [[fantasy]], and [[science fiction]] [[List of film journals and magazines|film magazine]] originally started as a [[Mimeograph machine|mimeograph]]ed [[fanzine]] in 1967, then relaunched as a glossy, [[offset printing|offset printed]] quarterly in 1970 by [[publisher]]/[[editing|editor]] [[Frederick S. Clarke]]. Intended as a serious critical/review journal of the [[genre]]s, the magazine immediately set itself apart from such competitors as ''[[Famous Monsters of Filmland]]'' and ''[[The Monster Times]]'' due to its slick paper stock and use of full color interior film stills. ''Cinefantastique'''s articles and reviews emphasized an intelligent, near-scholarly approach, a then-unusual slant for such a genre-specific magazine. Advertisements were few, with most of them being only ads for other titles and materials by the publisher. This lack of "page padding" assured the reader a high proportion of original editorial content.
The magazine quickly came to be known for its lengthy, information-filled "retrospective" articles devoted to the full production details of such classic films as 1951's ''[[The Day The Earth Stood Still]]'', [[George Pal]]'s ''[[The War of the Worlds (1953 film)|War of the Worlds]]'', ''[[The Incredible Shrinking Man]]'', and ''[[Planet of the Apes (1968 film)|Planet of the Apes]]''. Based on the popularity of these articles, ''Cinefantastique'' began producing huge double-issues centering on comprehensive "Making-Of" looks at such movies as Disney's ''[[20,000 Leagues Under The Sea]]'', ''[[Forbidden Planet]]'', ''[[Star Wars Episode IV: A New Hope|Star Wars]]'', ''[[Close Encounters of the Third Kind]]'', ''[[Blade Runner]]'', and ''[[The Thing (1982 film)|The Thing]]''. The magazine also devoted several issues to ''[[Star Trek]]'' films and ''[[Star Trek: The Next Generation]]'' and ''[[Star Trek: Deep Space Nine]]''. Many of the articles have since become accepted as the definitive source of production information regarding these and other genre titles.
The magazine was responsible for introducing the work of several writers who have continued to produce important work in the film field, including Don Shay, [[Bill Warren (film historian and critic)|Bill Warren]], [[Tim Lucas]], [[Mick Garris]], [[Stephen Rebello]], Steven Rubin, [[Dan Scapperotti]], [[Dale Winogura]], [[Jeffrey Frentzen]], Paul M. Sammon (who authored the [[Blade Runner]] double issue and later turned it into an extensive book called ''Future Noir''), Dan Fiebiger, and [[Alan Jones (film critic)|Alan Jones]].