The article announces the decision of Quintessence Publishing to offer its journal "Quintessence International" as an online subscription exclusively starting 2023 amid the Covid-19 pandemic, the war in Ukraine and sustainability issue.
{"title":"Changing Times","authors":"B. Rich","doi":"10.1525/fq.2022.76.2.7","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.7","url":null,"abstract":"The article announces the decision of Quintessence Publishing to offer its journal \"Quintessence International\" as an online subscription exclusively starting 2023 amid the Covid-19 pandemic, the war in Ukraine and sustainability issue.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"271 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67059854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
FQ columnist Laurie Ouellette discusses The Real World Homecoming, a reboot of the seminal MTV reality show that incorporates reflexivity’s slipperier ways and shows how intertwined the content industries and ordinary people have become. Homecoming gathers the original Real World cast members, now middle-aged, not to produce a sociological account of lived biography or to examine mediated personhood, but to produce value from a dormant brand.
{"title":"This Is a True Story about a True Story","authors":"Laurie J Ouellette","doi":"10.1525/fq.2022.76.2.88","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.88","url":null,"abstract":"FQ columnist Laurie Ouellette discusses The Real World Homecoming, a reboot of the seminal MTV reality show that incorporates reflexivity’s slipperier ways and shows how intertwined the content industries and ordinary people have become. Homecoming gathers the original Real World cast members, now middle-aged, not to produce a sociological account of lived biography or to examine mediated personhood, but to produce value from a dormant brand.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67060513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Days (2020) marked Tsai Ming-liang’s return to filmmaking after a long hiatus in his directorial career. In this essay, Jean Ma argues that Days signals both a return to form and a reorientation that responds to a changing landscape of moving image projection beyond the traditional movie theater. With no subtitles and nearly no dialogue, Days eschews narrative conventions and continues the tendency toward reduction and minimalization that is omnipresent in Tsai’s body of work. Instead, Tsai explores what Ma calls “the unfathomable screen presence of the body” through one body in particular—that of Lee Kang-sheng, to whom Tsai refers as his muse and collaborator. The continuous physical inscription of Lee across Tsai’s body of work, invites a study of not character but rather shifting projections of presence, modes of being and doing before the camera that constitute the foundational building blocks of Tsai’s artistic project.
{"title":"Arts of Healing","authors":"Jean Ma","doi":"10.1525/fq.2022.75.4.13","DOIUrl":"https://doi.org/10.1525/fq.2022.75.4.13","url":null,"abstract":"Days (2020) marked Tsai Ming-liang’s return to filmmaking after a long hiatus in his directorial career. In this essay, Jean Ma argues that Days signals both a return to form and a reorientation that responds to a changing landscape of moving image projection beyond the traditional movie theater. With no subtitles and nearly no dialogue, Days eschews narrative conventions and continues the tendency toward reduction and minimalization that is omnipresent in Tsai’s body of work. Instead, Tsai explores what Ma calls “the unfathomable screen presence of the body” through one body in particular—that of Lee Kang-sheng, to whom Tsai refers as his muse and collaborator. The continuous physical inscription of Lee across Tsai’s body of work, invites a study of not character but rather shifting projections of presence, modes of being and doing before the camera that constitute the foundational building blocks of Tsai’s artistic project.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67059029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Traditionally, the depiction of disability in cinema has mirrored the dominant worldview’s outside-looking-in perspective. By contrast, today’s New Wave of Disability Cinema starts from the inside and shines outward, with a different focus, POV, and intentions. Lawrence Carter-Long reviews the current crop of films that replace appeals for inclusion with proclamations of purpose, representing an overdue evolution in what stories are told and who gets to tell them. He argues that the unique skills of disabled artists have been too long denied agency by limited imaginations and an ableist gaze.
{"title":"Disability Cinema’s Next Wave","authors":"Lawrence Carter-Long","doi":"10.1525/fq.2022.76.2.55","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.55","url":null,"abstract":"Traditionally, the depiction of disability in cinema has mirrored the dominant worldview’s outside-looking-in perspective. By contrast, today’s New Wave of Disability Cinema starts from the inside and shines outward, with a different focus, POV, and intentions. Lawrence Carter-Long reviews the current crop of films that replace appeals for inclusion with proclamations of purpose, representing an overdue evolution in what stories are told and who gets to tell them. He argues that the unique skills of disabled artists have been too long denied agency by limited imaginations and an ableist gaze.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67059478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Taking Back the Legislature and Inside the Red Brick Wall depict two critical events in Hong Kong’s relentless 2019 protests, illuminating the messy scrum of direct actions in unflinching detail. Produced collectively and credited anonymously out of concern for the filmmakers’ safety, they present a formal challenge to the tropes and ethics of documentary filmmaking that have come to redefine Hong Kong cinema and the “copaganda” film as genre. This article takes a necessary intervention to study Taking Back the Legislature and Inside the Red Brick Wall formally, reaching beyond the political controversies and censorship issues surrounding these films. Decoding uses of blur, this article examines how the filmmakers accomplish a way of seeing that is beyond surveillance cinema—undoing the trope of a singular, exposed protagonist in favor of an anonymized, blurred and phantasmic mass—that poses a new cinematic vernacular of fugitivity.
{"title":"Phantasms of Dissent","authors":"Tiffany L Sia","doi":"10.1525/fq.2022.75.4.34","DOIUrl":"https://doi.org/10.1525/fq.2022.75.4.34","url":null,"abstract":"Taking Back the Legislature and Inside the Red Brick Wall depict two critical events in Hong Kong’s relentless 2019 protests, illuminating the messy scrum of direct actions in unflinching detail. Produced collectively and credited anonymously out of concern for the filmmakers’ safety, they present a formal challenge to the tropes and ethics of documentary filmmaking that have come to redefine Hong Kong cinema and the “copaganda” film as genre. This article takes a necessary intervention to study Taking Back the Legislature and Inside the Red Brick Wall formally, reaching beyond the political controversies and censorship issues surrounding these films. Decoding uses of blur, this article examines how the filmmakers accomplish a way of seeing that is beyond surveillance cinema—undoing the trope of a singular, exposed protagonist in favor of an anonymized, blurred and phantasmic mass—that poses a new cinematic vernacular of fugitivity.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67058833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this essay, Benjamin Schultz-Figueroa presents an analysis of two recent “multispecies documentaries”: Cow (Andrea Arnold, 2021) and Gunda (Viktor Kossakovsky, 2021). He suggests that both films prompt viewers to think expansively about the onscreen animals as sociopolitical subjects and in doing so, to rethink political society at large. Challenging the persistent conflation of authenticity, empathy, and political action used to promote films like these, Schultz-Figueroa argues that the films’ value instead lies in creating a sense of contingency whereby contemplation, evaluation, irony, and finally judgment is made possible. In being willing to imagine animals destined for the slaughterhouse as important historical phenomena in their own right, Cow and Gunda transform their nonhuman protagonists into essential figures for understanding the broader political milieu.
{"title":"Death by the Numbers","authors":"Benjamin Schultz-Figueroa","doi":"10.1525/fq.2022.75.4.47","DOIUrl":"https://doi.org/10.1525/fq.2022.75.4.47","url":null,"abstract":"In this essay, Benjamin Schultz-Figueroa presents an analysis of two recent “multispecies documentaries”: Cow (Andrea Arnold, 2021) and Gunda (Viktor Kossakovsky, 2021). He suggests that both films prompt viewers to think expansively about the onscreen animals as sociopolitical subjects and in doing so, to rethink political society at large. Challenging the persistent conflation of authenticity, empathy, and political action used to promote films like these, Schultz-Figueroa argues that the films’ value instead lies in creating a sense of contingency whereby contemplation, evaluation, irony, and finally judgment is made possible. In being willing to imagine animals destined for the slaughterhouse as important historical phenomena in their own right, Cow and Gunda transform their nonhuman protagonists into essential figures for understanding the broader political milieu.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67058886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review: Branding Brazil: Transforming Citizenship on Screen, by Leslie L. Marsh","authors":"Hoor Elshafei","doi":"10.1525/fq.2022.75.4.94","DOIUrl":"https://doi.org/10.1525/fq.2022.75.4.94","url":null,"abstract":"","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67058988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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