FQ contributing editor Josslyn Luckett speaks with Sam Pollard about his long career, which spans collaborations as an editor with Spike Lee to producing and directing his own documentaries, histories of black independent media, and his most recent film Max Roach: The Drum Also Waltzes.
{"title":"He Insists! From Apprentice Editor to Elder Statesman of the Black Documentary Tradition","authors":"Josslyn Luckett","doi":"10.1525/fq.2023.77.1.66","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.66","url":null,"abstract":"FQ contributing editor Josslyn Luckett speaks with Sam Pollard about his long career, which spans collaborations as an editor with Spike Lee to producing and directing his own documentaries, histories of black independent media, and his most recent film Max Roach: The Drum Also Waltzes.","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":"67062546","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}
With the success of M3GAN (Gerard Johnstone, 2023) and unfolding conversations about Artificial Intelligence (AI) informing the WGA and SAG-AFTRA strikes, FQ columnist Rebecca Wanzo explores the question of labor in the AI film. Noting the limited repertoire of AI representations in television and film, Wanzo asks why so few AI stories go beyond familiar narratives to instead explore the complexities of constructing a laboring future in a world with AI. Drawing upon examples ranging from Metropolis (1927) to Wall-E (2008), Wanzo finds reason for both optimism and pessimism about AI and workers’ lives.
{"title":"The Other Replacement Theory","authors":"Rebecca Wanzo","doi":"10.1525/fq.2023.77.1.81","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.81","url":null,"abstract":"With the success of M3GAN (Gerard Johnstone, 2023) and unfolding conversations about Artificial Intelligence (AI) informing the WGA and SAG-AFTRA strikes, FQ columnist Rebecca Wanzo explores the question of labor in the AI film. Noting the limited repertoire of AI representations in television and film, Wanzo asks why so few AI stories go beyond familiar narratives to instead explore the complexities of constructing a laboring future in a world with AI. Drawing upon examples ranging from Metropolis (1927) to Wall-E (2008), Wanzo finds reason for both optimism and pessimism about AI and workers’ lives.","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":"67062971","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 editor and veteran critic B. Ruby Rich reports from the 2023 edition of the Cannes Film Festival. She notes that the gap between outside perception and insider experience of the Festival was profound, as bad weather and ticketing woes meant that the advice most often shared was the bromide “If you’re not feeling humiliated, you’re not at Cannes.” Nonetheless, Rich reports on a satisfying array of films, both from known auteurs including Todd Haynes, Hirokazu Kore-eda, and Kleber Mendonça Filho and new discoveries such as the Georgian film Blackbird Blackbird Blackberry from director Elene Naveriani and the animated Robot Dreams by Pablo Berger.
{"title":"Cannes 2023","authors":"B. Rich","doi":"10.1525/fq.2023.77.1.90","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.90","url":null,"abstract":"Film Quarterly editor and veteran critic B. Ruby Rich reports from the 2023 edition of the Cannes Film Festival. She notes that the gap between outside perception and insider experience of the Festival was profound, as bad weather and ticketing woes meant that the advice most often shared was the bromide “If you’re not feeling humiliated, you’re not at Cannes.” Nonetheless, Rich reports on a satisfying array of films, both from known auteurs including Todd Haynes, Hirokazu Kore-eda, and Kleber Mendonça Filho and new discoveries such as the Georgian film Blackbird Blackbird Blackberry from director Elene Naveriani and the animated Robot Dreams by Pablo Berger.","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":"67063071","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.2023.76.3.113
Sam McCracken
{"title":"Review: A Theory of Assembly: From Museums to Memes, by Kyle Parry","authors":"Sam McCracken","doi":"10.1525/fq.2023.76.3.113","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.113","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":"67060554","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 multiple Academy Award winning sci-fi absurdist multiverse film Everything Everywhere All At Once (Daniels, 2021) uses transpacific film genre conventions to represent the possible life variations of its Asian American immigrant family protagonists. An exception to the seeming incommensurability of commercial feature filmmaking and the anti-capitalist and anti-racist traditions of Asian American cinema, the film highlights how the conventions of transpacific genre films condition the intimate public of Asian American audiences. To be legible as an Asian American, the film shows, is to be attuned to the conventions of its dominant, often hegemonic and repressive, representations. By illustrating how genre conventions condition the sense of belonging amongst its Asian American protagonists, the film offers new ways of imagining and relating with Asian America Cinema.
多次获得奥斯卡奖的科幻荒诞多元宇宙电影Everything Everywhere All At Once(丹尼尔斯，2021)使用跨太平洋电影类型惯例来代表其亚裔美国移民家庭主角可能的生活变化。商业故事片制作与亚裔美国电影的反资本主义和反种族主义传统似乎不可通约性，这部电影是一个例外，它突出了跨太平洋类型电影的惯例是如何影响亲密的亚裔美国观众的。这部电影表明，作为一个亚裔美国人，要想清晰可辨，就要适应其主导的、往往是霸权的、压抑的表现形式的惯例。通过说明类型惯例如何影响亚裔美国主角的归属感，这部电影提供了一种想象亚裔美国电影的新方式。
{"title":"Everything Everywhere All at Once and the Intimate Public of Asian American Cinema","authors":"Jason G. Coe","doi":"10.1525/fq.2023.76.4.35","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.35","url":null,"abstract":"The multiple Academy Award winning sci-fi absurdist multiverse film Everything Everywhere All At Once (Daniels, 2021) uses transpacific film genre conventions to represent the possible life variations of its Asian American immigrant family protagonists. An exception to the seeming incommensurability of commercial feature filmmaking and the anti-capitalist and anti-racist traditions of Asian American cinema, the film highlights how the conventions of transpacific genre films condition the intimate public of Asian American audiences. To be legible as an Asian American, the film shows, is to be attuned to the conventions of its dominant, often hegemonic and repressive, representations. By illustrating how genre conventions condition the sense of belonging amongst its Asian American protagonists, the film offers new ways of imagining and relating with Asian America 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":"67061508","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}
Bilal Qureshi returns to the pages of Film Quarterly to examine the unexpected success on the festival circuit and beyond of Joyland (Saim Sadiq, 2022), from Pakistan, and Le bleu du caftan (The Blue Caftan, Maryam Touzani, 2022), from Morocco. Both films are singular, unusual stories of success from underrepresented film cultures, prompting Qureshi to inquire whether they represent a queer breakthrough for Pakistani or Moroccan filmmaking. Elegant, lush, and romantic, each an impeccably made window into middle-class Pakistani and Moroccan family life and unspoken queer desire, Joyland and The Blue Caftan open up exciting conversations about the future of queer cinema and, perhaps even more importantly, about Muslim cinema.
Bilal Qureshi回到《电影季刊》，研究了来自巴基斯坦的《Joyland》(saaim Sadiq, 2022)和来自摩洛哥的《蓝色长袍》(Le bleu du caftan, Maryam Touzani, 2022)在电影节上的意外成功。这两部电影都是来自未被充分代表的电影文化的独特、不寻常的成功故事，这促使库雷希质疑它们是否代表了巴基斯坦或摩洛哥电影制作的酷儿突破。优雅、奢华、浪漫，每一部都是通往巴基斯坦和摩洛哥中产阶级家庭生活和不可言说的酷儿欲望的完美窗口，《Joyland》和《蓝色长袍》开启了关于酷儿电影未来的激动人心的对话，也许更重要的是，关于穆斯林电影。
{"title":"Queer Cinema’s Practicing Muslims and Practicing Homosexuals","authors":"Bilal Qureshi","doi":"10.1525/fq.2023.76.4.63","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.63","url":null,"abstract":"Bilal Qureshi returns to the pages of Film Quarterly to examine the unexpected success on the festival circuit and beyond of Joyland (Saim Sadiq, 2022), from Pakistan, and Le bleu du caftan (The Blue Caftan, Maryam Touzani, 2022), from Morocco. Both films are singular, unusual stories of success from underrepresented film cultures, prompting Qureshi to inquire whether they represent a queer breakthrough for Pakistani or Moroccan filmmaking. Elegant, lush, and romantic, each an impeccably made window into middle-class Pakistani and Moroccan family life and unspoken queer desire, Joyland and The Blue Caftan open up exciting conversations about the future of queer cinema and, perhaps even more importantly, about Muslim 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":"67061742","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.2023.76.3.109
Tanner Benson
{"title":"Review: Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-liang, by Nicholas de Villiers","authors":"Tanner Benson","doi":"10.1525/fq.2023.76.3.109","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.109","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":"67060368","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, Racquel Gates revisits the 1941 Disney classic Dumbo via a speculative reading of the black reverberations that run throughout the animated film. Situating her analysis in the act of viewing the film with her sons during the 2020 George Floyd protests, Gates uses her personal experience to reframe the film with a new emphasis on Dumbo’s black resonance, specifically highlighting some of the film’s undertheorized historical and performative elements. While taking into account Dumbo’s uncomfortable incorporation of minstrelsy and Disney’s larger problems of racial representation, Gates pushes for a complex reading of the film that situates blackness at the core of its affective connection.
{"title":"Baby Mine","authors":"Racquel J. Gates","doi":"10.1525/fq.2023.76.3.38","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.38","url":null,"abstract":"In this essay, Racquel Gates revisits the 1941 Disney classic Dumbo via a speculative reading of the black reverberations that run throughout the animated film. Situating her analysis in the act of viewing the film with her sons during the 2020 George Floyd protests, Gates uses her personal experience to reframe the film with a new emphasis on Dumbo’s black resonance, specifically highlighting some of the film’s undertheorized historical and performative elements. While taking into account Dumbo’s uncomfortable incorporation of minstrelsy and Disney’s larger problems of racial representation, Gates pushes for a complex reading of the film that situates blackness at the core of its affective connection.","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":"67060947","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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