In a letter to Eric Rohmer, Francois Truffaut once said, "Cinema is the art of the little detail that does not call attention to itself." This is the basis of what Christian Keathley terms the "cinephiliac moment"--those seemingly unimportant, fleeting details that we, the cinephiles, become fixated on when we encounter a film.1 Our cinephiliac moments might be in "the gesture of a hand, the odd rhythm of a horse's gait, or the sudden change of expression on a face," but as Keathley notes, "these moments are experienced by the viewer who encounters them as nothing less than a revelation."

While Peephole began as an experiment in viewing, thinking and writing about film, it strikes me that what each issue of this magazine does is trace a set of cinephiliac moments. This time we encounter Victor Bruno's ecstasy at the lighting of John Ford's constructed "red-haired sunset" in She Wore a Yellow Ribbon alongside John Edmond's consolation at the grounded tracking shot in Anthony Mann's Man of the West. Beside these sits I.Q. Hunter's puzzlement over the fake snow in his interpretation of the final scene of Stanley Kubrick's A Clockwork Orange and Hannah Joyner's heartbreak at Penelope Cruz's face as she is pushed down the stairs for the second time in Pedro Almodovar's Broken Embraces. And finally, we encounter Matthew Sini's cinephiliac moment after his encounter with the big blue schlong in Zack Snyder's Watchmen. In bringing these diverse articles together, we hope these moments prompt you to consider (or reconsider) your own encounters with the screen.

Whitney Monaghan, Editor.