This essay examines the New Negress Film Society, a collective of Black women and non-binary filmmakers who create community, spaces, and films that reimagine cultural productions that have traditionally exploited Black communities. Founded in 2013, the genesis and evolution of the New Negress Film Society reveals the individual, institutional, and industrial challenges that impact Black women’s filmmaking as well as the ways in which black feminist community engenders collectivizing. Samantha Sheppard considers broader traditions of formal and informal black feminist social movements and film collective practice while drawing attention to how New Negress Film Society operates deliberately on the margins and counter to industry-focused and mainstream routes for black cinema.
{"title":"A Profound Edge","authors":"Samantha N. Sheppard","doi":"10.1525/fq.2023.77.1.25","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.25","url":null,"abstract":"This essay examines the New Negress Film Society, a collective of Black women and non-binary filmmakers who create community, spaces, and films that reimagine cultural productions that have traditionally exploited Black communities. Founded in 2013, the genesis and evolution of the New Negress Film Society reveals the individual, institutional, and industrial challenges that impact Black women’s filmmaking as well as the ways in which black feminist community engenders collectivizing. Samantha Sheppard considers broader traditions of formal and informal black feminist social movements and film collective practice while drawing attention to how New Negress Film Society operates deliberately on the margins and counter to industry-focused and mainstream routes for black cinema.","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":"67062293","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.2023.76.3.104
Jaimie Baron
{"title":"Review: Kill the Documentary: A Letter to Filmmakers, Students, and Scholars, by Jill Godmilow","authors":"Jaimie Baron","doi":"10.1525/fq.2023.76.3.104","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.104","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":"67060228","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 essay reads Mati Diop’s short film Atlantiques (2009) and feature Atlantique (2019) as a twinned pair of cinematic reckonings with the restless spectrality of the colonial past and the tangled urgencies of the capitalist present. The experimental short and narrative feature mobilize mourning and dreaming to address exploitative geographies, haunted waters, and the gendered inequities produced by global circuits of labor. Summoning spectral antagonisms of colonialism and its capitalist mutations, Diop’s two films mobilize their narrative and expressive force to enact the wake work of remembrance. Taken together as “Atlantique(s)” the spectral poetics of both films propose a global, fluid black aesthetics capable of negotiating overlapping and vexed temporalities. Atlantique(s) summon a phantasmic visual and sonic lyricism to give visual shape to the borderless chronotropes of colonization’s afterlives with a promise of vengeance.
{"title":"Wake Work","authors":"Yasmina Price","doi":"10.1525/fq.2023.76.3.55","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.55","url":null,"abstract":"This essay reads Mati Diop’s short film Atlantiques (2009) and feature Atlantique (2019) as a twinned pair of cinematic reckonings with the restless spectrality of the colonial past and the tangled urgencies of the capitalist present. The experimental short and narrative feature mobilize mourning and dreaming to address exploitative geographies, haunted waters, and the gendered inequities produced by global circuits of labor. Summoning spectral antagonisms of colonialism and its capitalist mutations, Diop’s two films mobilize their narrative and expressive force to enact the wake work of remembrance. Taken together as “Atlantique(s)” the spectral poetics of both films propose a global, fluid black aesthetics capable of negotiating overlapping and vexed temporalities. Atlantique(s) summon a phantasmic visual and sonic lyricism to give visual shape to the borderless chronotropes of colonization’s afterlives with a promise of vengeance.","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":"67060785","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 essay by Elizabeth Ramírez-Soto, co-editor of the Special Focus section “Chilean Film and Media: Fifty Years Later (1973/2023),” discusses the nonfiction responses to the 2019 estallido social (social uprising) as part of a longer history of documentary resistance. Ramírez-Soto argues postdictatorship Chilean documentary oscillates between an emphasis on the bodies of the direct victims of state-sanctioned violence and an emphasis on the bodies of the films themselves as haptic images. Focusing on the work of the anonymous group Colectivo Cinematográfico Pedro Chaskel (CCPCH), one of the many collectives that took to the streets to document the popular revolt in 2019, Ramírez-Soto reveals how through the recycling of militant documentaries, these films establish a link with the past and with its images of resistance.
这篇文章由特别关注部分“智利电影和媒体:五十年后(1973/2023)”的联合编辑伊丽莎白Ramírez-Soto撰写，讨论了非小说对2019年estallido social(社会起义)的回应，作为更悠久的纪录片抵抗历史的一部分。Ramírez-Soto认为后独裁时期的智利纪录片在强调国家认可的暴力的直接受害者的身体和强调电影本身作为触觉图像的身体之间摇摆不定。关注匿名组织Colectivo Cinematográfico Pedro Chaskel (CCPCH)的工作，该组织是2019年走上街头记录民众反抗的众多团体之一，Ramírez-Soto揭示了这些电影如何通过回收激进纪录片，与过去及其反抗形象建立联系。
{"title":"Bodies that Persist","authors":"Elizabeth Ramírez-Soto","doi":"10.1525/fq.2023.77.1.48","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.48","url":null,"abstract":"This essay by Elizabeth Ramírez-Soto, co-editor of the Special Focus section “Chilean Film and Media: Fifty Years Later (1973/2023),” discusses the nonfiction responses to the 2019 estallido social (social uprising) as part of a longer history of documentary resistance. Ramírez-Soto argues postdictatorship Chilean documentary oscillates between an emphasis on the bodies of the direct victims of state-sanctioned violence and an emphasis on the bodies of the films themselves as haptic images. Focusing on the work of the anonymous group Colectivo Cinematográfico Pedro Chaskel (CCPCH), one of the many collectives that took to the streets to document the popular revolt in 2019, Ramírez-Soto reveals how through the recycling of militant documentaries, these films establish a link with the past and with its images of resistance.","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":"67062376","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.2023.77.1.109
Daniela Crespo-Miró
{"title":"Review: Caribes 2.0: New Media, Globalization, and the Afterlives of Disaster, by Jossianna Arroyo","authors":"Daniela Crespo-Miró","doi":"10.1525/fq.2023.77.1.109","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.109","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":"67062513","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 contributing editor Manuel Betancourt examines duration in contemporary cinema and the playful innovations of Laura Citarella’s Trenque Lauquen (2022). The 260 minute film is another production by El Pampero Cine, the group that produced the thirteen hour La Flor (Mariano Llinás, 2018), on which Citarella served as producer. Following the disappearance of a woman named Laura, Trenque Lauquen is a recursive mystery both in narrative and form that resists traditional narrative expectations that would elucidate the events of Laura’s disappearance and make her knowable. Betancourt writes that Trenque Lauquen maintains El Pampero Cine’s DIY spirit through creative practices that challenge the linear progression of pre-production, shooting, and editing and in doing so, facilitate Citarella’s reimagining of cinema as an experiential event.
{"title":"Looking for Laura & Meaning in Laura Citarella’s Trenque Lauquen","authors":"Manuel Betancourt","doi":"10.1525/fq.2023.77.1.86","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.86","url":null,"abstract":"FQ contributing editor Manuel Betancourt examines duration in contemporary cinema and the playful innovations of Laura Citarella’s Trenque Lauquen (2022). The 260 minute film is another production by El Pampero Cine, the group that produced the thirteen hour La Flor (Mariano Llinás, 2018), on which Citarella served as producer. Following the disappearance of a woman named Laura, Trenque Lauquen is a recursive mystery both in narrative and form that resists traditional narrative expectations that would elucidate the events of Laura’s disappearance and make her knowable. Betancourt writes that Trenque Lauquen maintains El Pampero Cine’s DIY spirit through creative practices that challenge the linear progression of pre-production, shooting, and editing and in doing so, facilitate Citarella’s reimagining of cinema as an experiential event.","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":"67063034","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":"The Films of Laura Mulvey and Peter Wollen","authors":"Bruno Guaraná","doi":"10.5040/9781839025280","DOIUrl":"https://doi.org/10.5040/9781839025280","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":"70545091","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}
She Said (Maria Schrader, 2022), Women Talking (Sarah Polley, 2022), and Tár (Todd Field, 2022) all address the aftermath of sexual harassment and rape. Notably, these films share a refusal to depict assault, which differentiates them from the prevailing cinematic practice of titillating audiences with sexual violence, ostensibly in order to repudiate it. By eschewing assault scenes, these films turn their audiences’ attention from individual acts to ideological structures. Each film represents a different version of and backlash against rape culture; in so doing each asks the spectator to extend culpability beyond assailants and their immediate enablers to the institutional systems that empower them. By not depicting rape or sexual assault, these movies also suggest that film viewers are complicit in rape culture too. Their representational strategies insinuate that sitting back and watching simulated assault as entertainment carries with it an implicit acceptance of such assault—and thus that audiences should not just demand better but do better themselves.
{"title":"Empowerment by Design","authors":"Caetlin Benson-Allott","doi":"10.1525/fq.2023.76.4.67","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.67","url":null,"abstract":"She Said (Maria Schrader, 2022), Women Talking (Sarah Polley, 2022), and Tár (Todd Field, 2022) all address the aftermath of sexual harassment and rape. Notably, these films share a refusal to depict assault, which differentiates them from the prevailing cinematic practice of titillating audiences with sexual violence, ostensibly in order to repudiate it. By eschewing assault scenes, these films turn their audiences’ attention from individual acts to ideological structures. Each film represents a different version of and backlash against rape culture; in so doing each asks the spectator to extend culpability beyond assailants and their immediate enablers to the institutional systems that empower them. By not depicting rape or sexual assault, these movies also suggest that film viewers are complicit in rape culture too. Their representational strategies insinuate that sitting back and watching simulated assault as entertainment carries with it an implicit acceptance of such assault—and thus that audiences should not just demand better but do better themselves.","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":"67061876","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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