Veteran arts reporter and FQ contributing editor Joan Dupont interviews the French director Yolande Zauberman, whose extensive oeuvre spans groundbreaking documentaries and prize-winning feature films including Moi Ivan, toi Abraham (1993), Clubbed to Death (1997), and M (2019).
{"title":"Yolande Zauberman","authors":"J. Dupont","doi":"10.1525/fq.2023.76.4.54","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.54","url":null,"abstract":"Veteran arts reporter and FQ contributing editor Joan Dupont interviews the French director Yolande Zauberman, whose extensive oeuvre spans groundbreaking documentaries and prize-winning feature films including Moi Ivan, toi Abraham (1993), Clubbed to Death (1997), and M (2019).","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67062094","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}
Pub Date : 2023-01-01DOI: 10.1525/fq.2023.77.1.108
Ann Lyuwenyu Zhang
{"title":"Review: A Decolonizing Ear: Documentary Film Disrupts the Archive, by Olivia Landry","authors":"Ann Lyuwenyu Zhang","doi":"10.1525/fq.2023.77.1.108","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.108","url":null,"abstract":"","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67062450","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}
This article explores how television dramas function as a cultural forum on the workplace power dynamics of US tech startups. Focusing on the limited series, Super Pumped and WeCrashed, which are about Uber and WeWork, the authors analyze how relations of race, class, and gender/sexuality emerge in these narrativized techworlds via several “figures,” including white male founders/CEOs or “millennial messiahs,” “female fixers” that range from executives to silent service providers, and the “corporate board.” These figures are important because they circulate across fictional and non-fictional contexts and become a means by which publics make sense of the power relations of tech startups. Even as these shows center on the trials and tribulations of egomaniacal, power-hungry CEOs, they raise crucial questions about corporate corruption, gender/racial discrimination, and labor exploitation in the tech workplace and challenge viewers to reckon with the unchecked power of the big US technology companies.
{"title":"Millennial Messiahs, Female Fixers, and Corporate Boards","authors":"Lisa Parks, F. Twine","doi":"10.1525/fq.2023.76.3.25","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.25","url":null,"abstract":"This article explores how television dramas function as a cultural forum on the workplace power dynamics of US tech startups. Focusing on the limited series, Super Pumped and WeCrashed, which are about Uber and WeWork, the authors analyze how relations of race, class, and gender/sexuality emerge in these narrativized techworlds via several “figures,” including white male founders/CEOs or “millennial messiahs,” “female fixers” that range from executives to silent service providers, and the “corporate board.” These figures are important because they circulate across fictional and non-fictional contexts and become a means by which publics make sense of the power relations of tech startups. Even as these shows center on the trials and tribulations of egomaniacal, power-hungry CEOs, they raise crucial questions about corporate corruption, gender/racial discrimination, and labor exploitation in the tech workplace and challenge viewers to reckon with the unchecked power of the big US technology companies.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"12 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67060172","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 Rebecca Wanzo never expected to see Hollywood produce a film like The Woman King (Gina Prince-Bythewood, 2022), an action film led by a dark-skinned Black woman in her fifties, starring other Black women, and focused on the intimacy between them. In this column, Wanzo explores The Woman King’s radical depiction of real Black women’s bodies experiencing the erotic as power—an idea borrowed from the Black feminist lesbian poet Audre Lorde—in a Hollywood action film. In its difference, The Woman King highlights the ironic lack of embodiment and limited sensory palate offered by so many action films and reimagines the genre’s possibilities for cinematic pleasure.
{"title":"Viola’s Body","authors":"Rebecca Wanzo","doi":"10.1525/fq.2023.76.3.92","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.92","url":null,"abstract":"FQ columnist Rebecca Wanzo never expected to see Hollywood produce a film like The Woman King (Gina Prince-Bythewood, 2022), an action film led by a dark-skinned Black woman in her fifties, starring other Black women, and focused on the intimacy between them. In this column, Wanzo explores The Woman King’s radical depiction of real Black women’s bodies experiencing the erotic as power—an idea borrowed from the Black feminist lesbian poet Audre Lorde—in a Hollywood action film. In its difference, The Woman King highlights the ironic lack of embodiment and limited sensory palate offered by so many action films and reimagines the genre’s possibilities for cinematic pleasure.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061015","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}
Film Quarterly contributing editor Laurie Ouellette examines the inconsistencies at the core of Law and Order: Special Victim’s Unit status as a feminist phenomenon. Since its debut in 1999, the program has been praised for promoting understandings of rape and domestic violence as introduced by the women’s movement, earning a reputation as a key popular culture home for feminist opinions. In this column, Ouellette examines the elephant in the room—SVU’s staunch support of the criminal justice system—in light of the cultural reckoning prompted by the murders of George Floyd, Breonna Taylor, and others. She concludes that SVU’s incorporation of feminist sensibilities, including solidarity with victims, covers up the persistent violence of policing but may also explain why female audiences horrified by this reality have not quit SVU.
{"title":"Carceral Feminism on Repeat","authors":"Laurie J Ouellette","doi":"10.1525/fq.2023.76.4.73","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.73","url":null,"abstract":"Film Quarterly contributing editor Laurie Ouellette examines the inconsistencies at the core of Law and Order: Special Victim’s Unit status as a feminist phenomenon. Since its debut in 1999, the program has been praised for promoting understandings of rape and domestic violence as introduced by the women’s movement, earning a reputation as a key popular culture home for feminist opinions. In this column, Ouellette examines the elephant in the room—SVU’s staunch support of the criminal justice system—in light of the cultural reckoning prompted by the murders of George Floyd, Breonna Taylor, and others. She concludes that SVU’s incorporation of feminist sensibilities, including solidarity with victims, covers up the persistent violence of policing but may also explain why female audiences horrified by this reality have not quit SVU.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061932","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 The Traitor (2019) and Exterior Night (2022), Marco Bellocchio revisits traumatic and violent episodes in Italy’s recent past. The first is a feature film about the round-up of Sicilian mafia members in the 1980s and their retaliatory attack on the Italian state. The second is a six-part television series about the abduction and murder in 1978 of politician Aldo Moro as lived by his family, political colleagues and the terrorists who captured him. Bellocchio’s nonfiction Marx Can Wait (2021) also evokes a trauma, in this case a personal one: the legacy of his twin brother’s suicide in 1968 on himself and his family. This article examines Bellocchio’s techniques of incorporating archive images and footage, including from his own earlier films, as well as his use of dream and fantasy sequences, as ways of situating himself as an older man in relation to that past and of processing traumatic memories.
{"title":"Bellocchio’s Histories, Personal and Public","authors":"D. Forgacs","doi":"10.1525/fq.2023.76.4.46","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.46","url":null,"abstract":"In The Traitor (2019) and Exterior Night (2022), Marco Bellocchio revisits traumatic and violent episodes in Italy’s recent past. The first is a feature film about the round-up of Sicilian mafia members in the 1980s and their retaliatory attack on the Italian state. The second is a six-part television series about the abduction and murder in 1978 of politician Aldo Moro as lived by his family, political colleagues and the terrorists who captured him. Bellocchio’s nonfiction Marx Can Wait (2021) also evokes a trauma, in this case a personal one: the legacy of his twin brother’s suicide in 1968 on himself and his family. This article examines Bellocchio’s techniques of incorporating archive images and footage, including from his own earlier films, as well as his use of dream and fantasy sequences, as ways of situating himself as an older man in relation to that past and of processing traumatic memories.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061327","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}
The recent exhibit at the Museum of Modern Art in New York, Signals: How Video Transformed the World offers a critical look at the medium, spanning from the 1960s to the present. Featuring works from guerilla television collectives like Raindance to contemporary artists like Martine Syms and Tiffany Sia, MoMA’s exhibit employs a more expansive definition of video to include television broadcasting, CCTV, and moving images captured and shared on cell phones. Film Quarterly contributing editor Laurie Ouellette argues that while MoMA frames the exhibit in terms of video’s critical potential to speak against television and media infrastructures, the exhibit is limited by the lack of historical context given to the ideological and material uses of video. The exhibition points to the contradictions inherent in the media landscape, which for Ouellette, demands greater critical attention for video in television and new-media studies.
最近在纽约现代艺术博物馆举办的展览《信号:视频如何改变世界》(Signals: How Video Transformed The World)以批判的眼光审视了从20世纪60年代到现在的这种媒介。MoMA的展览展示了从像Raindance这样的游击队电视集体到像Martine Syms和Tiffany Sia这样的当代艺术家的作品，采用了更广泛的视频定义，包括电视广播，CCTV和移动图像，并在手机上拍摄和分享。《电影季刊》特约编辑Laurie Ouellette认为，尽管MoMA根据视频对电视和媒体基础设施的批判潜力来构建展览，但由于缺乏对视频的意识形态和物质使用的历史背景，展览受到了限制。这次展览指出了媒体景观中固有的矛盾，对于Ouellette来说，这需要对电视和新媒体研究中的视频给予更多的批判性关注。
{"title":"The Video Revolution, according to the Museum of Modern Art","authors":"Laurie Ouellette","doi":"10.1525/fq.2023.77.1.75","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.75","url":null,"abstract":"The recent exhibit at the Museum of Modern Art in New York, Signals: How Video Transformed the World offers a critical look at the medium, spanning from the 1960s to the present. Featuring works from guerilla television collectives like Raindance to contemporary artists like Martine Syms and Tiffany Sia, MoMA’s exhibit employs a more expansive definition of video to include television broadcasting, CCTV, and moving images captured and shared on cell phones. Film Quarterly contributing editor Laurie Ouellette argues that while MoMA frames the exhibit in terms of video’s critical potential to speak against television and media infrastructures, the exhibit is limited by the lack of historical context given to the ideological and material uses of video. The exhibition points to the contradictions inherent in the media landscape, which for Ouellette, demands greater critical attention for video in television and new-media studies.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67062300","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}
Pub Date : 2023-01-01DOI: 10.1525/fq.2023.77.1.106
Jing Wang
{"title":"Review: Chinese Film: Realism and Convention from the Silent Era to the Digital Age, by Jason McGrath","authors":"Jing Wang","doi":"10.1525/fq.2023.77.1.106","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.106","url":null,"abstract":"","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67062361","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}
Set in the early 1980s in San Diego, California, Physical (Apple TV+, 2021−) dramatizes the emergence of aerobics on videotape, a prescient chapter of media history that promised to transform female viewers into the masters of their bodies, lives, and futures. Although not a feminist critique, the series is an exploration of the vicissitudes of a self-empowerment. As media technology has become more interactive, the message that women can achieve an Instagrammable body by following the self-help regimens of modern-day Sheilas has become even more pervasive—and insidious. At a time when empowerment is sold on T-shirts and technologies of the self are peddled by countless influencers, Physical offers a genealogy of these taken-for-granted realities. An overdue tribute to a form of mass culture that is usually not taken seriously, even in media circles, Physical offers the unsettling possibility that self-empowerment has become the cause of women’s problems, not their solution.
{"title":"Aerobics on Tape","authors":"Laurie J Ouellette","doi":"10.1525/fq.2023.76.3.87","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.87","url":null,"abstract":"Set in the early 1980s in San Diego, California, Physical (Apple TV+, 2021−) dramatizes the emergence of aerobics on videotape, a prescient chapter of media history that promised to transform female viewers into the masters of their bodies, lives, and futures. Although not a feminist critique, the series is an exploration of the vicissitudes of a self-empowerment. As media technology has become more interactive, the message that women can achieve an Instagrammable body by following the self-help regimens of modern-day Sheilas has become even more pervasive—and insidious. At a time when empowerment is sold on T-shirts and technologies of the self are peddled by countless influencers, Physical offers a genealogy of these taken-for-granted realities. An overdue tribute to a form of mass culture that is usually not taken seriously, even in media circles, Physical offers the unsettling possibility that self-empowerment has become the cause of women’s problems, not their solution.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67060724","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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