Michael Boyce Gillespie introduces the Film Quarterly dossier, Black Infinite: New Directions in Black Film and Media Studies. The five essays that comprise the dossier reflect the vitality and richness of black film and media as objects of study and compel deeper inquiry into the art of blackness.
{"title":"An Introduction","authors":"M. Gillespie","doi":"10.1525/fq.2023.76.3.36","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.36","url":null,"abstract":"Michael Boyce Gillespie introduces the Film Quarterly dossier, Black Infinite: New Directions in Black Film and Media Studies. The five essays that comprise the dossier reflect the vitality and richness of black film and media as objects of study and compel deeper inquiry into the art of blackness.","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":"67060812","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 1929, the “Empress of the Blues” Bessie Smith made her only known film appearance in a short, two-reel film by Dudley Murphy, St. Louis Blues, titled after the W.C. Handy song that Smith had made famous. One prefiguration of the music video medium, it was the first film to be made to a preexisting song. Sixty years later, the song moves into a third instantiation when Isaac Julien returns to a fragment of Smith’s film performance in his dreamy Looking for Langston. It situates Smith in the context of Black queer literary voicings and media history more generally, thus assuring a primary place for Smith in the history and theory of film. Taken together, these films acousmatic voices provide the material for an aesthetic theory of Black queer film as an ongoing, questioning encounter between sound and image, one where the otherworldly takes precedence over realism.
1929年，“蓝调皇后”贝西·史密斯在达德利·墨菲拍摄的一部名为《圣路易斯蓝调》的两卷短片中出演了她唯一一次为人所知的电影，该片以史密斯成名的W.C.汉迪歌曲命名。这是音乐视频媒体的一个先兆，它是第一部根据已有歌曲制作的电影。60年后，当艾萨克·朱利安(Isaac Julien)在梦幻般的《寻找兰斯顿》(Looking for Langston)中回到史密斯在电影中的表演片段时，这首歌进入了第三个实例。它将史密斯置于黑人酷儿文学发声和更广泛的媒体历史的背景下，从而确保了史密斯在电影历史和理论中的主要地位。总而言之，这些电影的声学声音为黑人酷儿电影的美学理论提供了材料，作为声音和图像之间持续的，质疑的遭遇，其中超凡脱俗优先于现实主义。
{"title":"Between Sound and Image","authors":"Julie Beth Napolin","doi":"10.1525/fq.2023.76.3.48","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.48","url":null,"abstract":"In 1929, the “Empress of the Blues” Bessie Smith made her only known film appearance in a short, two-reel film by Dudley Murphy, St. Louis Blues, titled after the W.C. Handy song that Smith had made famous. One prefiguration of the music video medium, it was the first film to be made to a preexisting song. Sixty years later, the song moves into a third instantiation when Isaac Julien returns to a fragment of Smith’s film performance in his dreamy Looking for Langston. It situates Smith in the context of Black queer literary voicings and media history more generally, thus assuring a primary place for Smith in the history and theory of film. Taken together, these films acousmatic voices provide the material for an aesthetic theory of Black queer film as an ongoing, questioning encounter between sound and image, one where the otherworldly takes precedence over realism.","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":"67061033","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 Manuel Betancourt discusses the emphasis on history and memory in recent Latin American cinema. Taking Pablo Larraín’s No (2012), about the plebiscite that marked the end of the Chilean dictator Augusto Pinochet’s regime, as an ur-text, he examines the more recent films Bardo, falsa crünica de unas cuantas verdades (Bardo, False Chronicle of a Handful of Truths, dir. Alejandro González Iñárritu, 2022), Nuestra película (Our Movie, dir. Diana Bustamante, 2022), and Argentina, 1985 (Santiago Mitre, 2022). These films suggest that Latin American filmmakers are again claiming cinema as an active participant in fashioning how the region’s history is understood, both from within and abroad. Building on the metafictional conceit that to (re)write history is to (re)shape it, they highlight the “story” aspect of “history” by asking viewers to (re)examine how and what one chooses to see, to watch, to remember.
FQ专栏作家Manuel Betancourt讨论了近期拉丁美洲电影对历史和记忆的重视。以巴勃罗Larraín (Pablo Larraín)的《No》(2012)为例，他考察了近期的电影《Bardo, falsa cr nica de unas cuantas verdades》(《少数真相的虚假编年史》，导演)，该片讲述了标志着智利独裁者奥古斯托·皮诺切特(Augusto Pinochet)政权终结的公民投票。亚历杭德罗González Iñárritu, 2022)， Nuestra película(我们的电影，导演。戴安娜·布斯塔曼特，2022年)和阿根廷，1985年(圣地亚哥·米特尔，2022年)。这些电影表明，拉丁美洲的电影人再次声称电影是塑造该地区历史的积极参与者，无论是对内还是对外。基于元虚构的自负，即(重新)书写历史就是(重新)塑造历史，他们通过要求观众(重新)审视自己选择观看、观看和记忆的方式和内容，突出了“历史”的“故事”方面。
{"title":"The Histories We Tell","authors":"Manuel Betancourt","doi":"10.1525/fq.2023.76.3.82","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.82","url":null,"abstract":"FQ columnist Manuel Betancourt discusses the emphasis on history and memory in recent Latin American cinema. Taking Pablo Larraín’s No (2012), about the plebiscite that marked the end of the Chilean dictator Augusto Pinochet’s regime, as an ur-text, he examines the more recent films Bardo, falsa crünica de unas cuantas verdades (Bardo, False Chronicle of a Handful of Truths, dir. Alejandro González Iñárritu, 2022), Nuestra película (Our Movie, dir. Diana Bustamante, 2022), and Argentina, 1985 (Santiago Mitre, 2022). These films suggest that Latin American filmmakers are again claiming cinema as an active participant in fashioning how the region’s history is understood, both from within and abroad. Building on the metafictional conceit that to (re)write history is to (re)shape it, they highlight the “story” aspect of “history” by asking viewers to (re)examine how and what one chooses to see, to watch, to remember.","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":"67061113","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.2023.76.4.103
Lauren Treihaft
{"title":"Review: Deadpan: The Aesthetics of Black Inexpression, by Tina Post","authors":"Lauren Treihaft","doi":"10.1525/fq.2023.76.4.103","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.103","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":"67061351","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}
Chilean cinema has developed alongside the political changes of the past decade. Its aesthetic is one of discordance or disjuncture (desajuste), in which political and social issues seep into the country’s films through a variety of formal practices. Films made between 2010 and 2020 oscillate between an adherence to realism and the principle of “processualism” (procesualidad) as a way of revealing the mechanisms of representation and thus highlighting their own mediation. This article examines such an aesthetic of disjuncture by studying the cinematic representation of the conflict between the state and the Indigenous Mapuche people through the films El verano de los peces voladores (The Summer of Flying Fish, Marcela Said, 2013), Mala junta (Bad Influence, Claudia Huaiquimilla, 2016), Rey (King, Niles Atallah, 2017), and Notas para una película (Notes for a Film, Ignacio Agüero, 2022).
智利电影随着过去十年的政治变革而发展。它的审美是一种不协调或脱节(desajuste)，其中政治和社会问题通过各种形式实践渗透到该国的电影中。2010年至2020年间制作的电影在坚持现实主义和“过程主义”(procesualidad)原则之间摇摆，这是一种揭示再现机制的方式，从而突出了它们自己的中介。本文通过电影《飞鱼之夏》(El verano de los peces voladores, Marcela Said, 2013)、《Mala junta》(《Bad Influence》，Claudia Huaiquimilla, 2016)、《Rey》(King, Niles Atallah, 2017)和《Notas para una película》(《电影笔记》，Ignacio ag ero, 2022)来研究国家与土著马普切人之间冲突的电影表现，从而考察了这种脱节的美学。
{"title":"Wallmapu in Contemporary Chilean Cinema","authors":"Iván Pinto, Carolina Urrutia","doi":"10.1525/fq.2023.77.1.56","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.56","url":null,"abstract":"Chilean cinema has developed alongside the political changes of the past decade. Its aesthetic is one of discordance or disjuncture (desajuste), in which political and social issues seep into the country’s films through a variety of formal practices. Films made between 2010 and 2020 oscillate between an adherence to realism and the principle of “processualism” (procesualidad) as a way of revealing the mechanisms of representation and thus highlighting their own mediation. This article examines such an aesthetic of disjuncture by studying the cinematic representation of the conflict between the state and the Indigenous Mapuche people through the films El verano de los peces voladores (The Summer of Flying Fish, Marcela Said, 2013), Mala junta (Bad Influence, Claudia Huaiquimilla, 2016), Rey (King, Niles Atallah, 2017), and Notas para una película (Notes for a Film, Ignacio Agüero, 2022).","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":"67062490","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 filmmaker Keisha Rae Witherspoon has said, “Film is a type of spell.” In her short film T (2019), she conjures a conceit of how to carry the dead or how to imagine living on with and without them. Set in Liberty City, Miami’s historically black neighborhood, T poignantly stages a notion of memorialization that refigures mourning as incarnation spectacles that refuse to be held suspended by the grief, ache, representational recurrence, and despair over black death. In this essay, Michael Boyce Gillespie examines how T’s staging of a ball devoted to the celebration of the black dead emplots the cultural legacies of black death and precarity within a praxis of resistance, survival, and the fabulous.
{"title":"Can’t No Grave Hold My Body Down","authors":"M. Gillespie","doi":"10.1525/fq.2023.76.3.73","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.73","url":null,"abstract":"The filmmaker Keisha Rae Witherspoon has said, “Film is a type of spell.” In her short film T (2019), she conjures a conceit of how to carry the dead or how to imagine living on with and without them. Set in Liberty City, Miami’s historically black neighborhood, T poignantly stages a notion of memorialization that refigures mourning as incarnation spectacles that refuse to be held suspended by the grief, ache, representational recurrence, and despair over black death. In this essay, Michael Boyce Gillespie examines how T’s staging of a ball devoted to the celebration of the black dead emplots the cultural legacies of black death and precarity within a praxis of resistance, survival, and the fabulous.","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":"67060984","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.2023.76.4.105
M. S. Johnson
{"title":"Review: Horror Film and Otherness, by Adam Lowenstein","authors":"M. S. Johnson","doi":"10.1525/fq.2023.76.4.105","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.105","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":"67061399","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.2023.76.4.106
Swapna Gopinath
{"title":"Review: Sirens of Modernity: World Cinema via Bombay, by Samhita Sunya","authors":"Swapna Gopinath","doi":"10.1525/fq.2023.76.4.106","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.106","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":"67061489","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.2023.77.1.103
Juan Camilo Velásquez
{"title":"Review: Italian Political Cinema: Figures of the Long ’68, by Mauro Resmini","authors":"Juan Camilo Velásquez","doi":"10.1525/fq.2023.77.1.103","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.103","url":null,"abstract":"","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"30 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061714","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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