Pub Date : 2022-01-01DOI: 10.1525/fq.2022.76.1.108
Richard Mwakasege-Minaya
{"title":"Review: Latino TV: A History, by Mary Beltrán","authors":"Richard Mwakasege-Minaya","doi":"10.1525/fq.2022.76.1.108","DOIUrl":"https://doi.org/10.1525/fq.2022.76.1.108","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":"67059055","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 three recent Latin American spins on the horror genre: Huesera (Michelle Garza Cervera, 2022), Clara Sola (Nathalie Álvarez Mesén, 2021), and Medusa (Anita Rocha da Silveira, 2021). As modern feminist fables, these films consciously upend horror conventions, reworking rigid conceptions of female victimhood to reveal how a patriarchal system corrodes a woman’s sense of agency. Together, they show the way forward for a bolder kind of contemporary horror cinema with a decidedly feminist point of view.
{"title":"Huesera, Clara Sola, and Medusa","authors":"Manuel Betancourt","doi":"10.1525/fq.2022.76.2.83","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.83","url":null,"abstract":"FQ columnist Manuel Betancourt discusses three recent Latin American spins on the horror genre: Huesera (Michelle Garza Cervera, 2022), Clara Sola (Nathalie Álvarez Mesén, 2021), and Medusa (Anita Rocha da Silveira, 2021). As modern feminist fables, these films consciously upend horror conventions, reworking rigid conceptions of female victimhood to reveal how a patriarchal system corrodes a woman’s sense of agency. Together, they show the way forward for a bolder kind of contemporary horror cinema with a decidedly feminist point of view.","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":"67059981","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 US House Select Committee to Investigate the January 6th Attack on the United States Capitol hearings were the must-see TV of the summer of 2022. FQ columnist Caetlin Benson-Allott argues that the hearings’ compositional form and ideological structures dramatized the differences between televisual liveness and live streaming (i.e., videos created, distributed, and received concurrently online). The Select Committee hearings affirmed television’s cultural significance: they upheld television as the medium for national conversations and, through their invocation of historic television formulas and ideologies of liveness, marked television as a legacy medium whose very datedness bestows a certain gravitas on its contents. In so doing, the hearings reasserted both the Select Committee’s power and the power of television.
{"title":"An Urgent Legacy","authors":"Caetlin Benson-Allott","doi":"10.1525/fq.2022.76.2.93","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.93","url":null,"abstract":"The US House Select Committee to Investigate the January 6th Attack on the United States Capitol hearings were the must-see TV of the summer of 2022. FQ columnist Caetlin Benson-Allott argues that the hearings’ compositional form and ideological structures dramatized the differences between televisual liveness and live streaming (i.e., videos created, distributed, and received concurrently online). The Select Committee hearings affirmed television’s cultural significance: they upheld television as the medium for national conversations and, through their invocation of historic television formulas and ideologies of liveness, marked television as a legacy medium whose very datedness bestows a certain gravitas on its contents. In so doing, the hearings reasserted both the Select Committee’s power and the power of television.","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":"67060356","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 considers the recent evolution of the dementia film, which has shifted over the past twenty years from a focus on the experience of caregivers to that of the person suffering from cognitive decline. Yet the relationship between the caretaker and the sufferer remains central to the genre, prompting Wanzo to ask the question: What kind of story is told about cognitive decline in old age when no one is there to care? The recent Apple TV+ limited series The Last Days of Ptolemy Grey (Walter Mosley, 2022) anticipates this question but offers a “fairy tale” answer that elides the fact that the contemporary dementia crisis is also a care crisis.
{"title":"What If No One Is There to Care? Dementia’s Narrative Demands","authors":"R. Wanzo","doi":"10.1525/fq.2022.76.1.70","DOIUrl":"https://doi.org/10.1525/fq.2022.76.1.70","url":null,"abstract":"FQ columnist Rebecca Wanzo considers the recent evolution of the dementia film, which has shifted over the past twenty years from a focus on the experience of caregivers to that of the person suffering from cognitive decline. Yet the relationship between the caretaker and the sufferer remains central to the genre, prompting Wanzo to ask the question: What kind of story is told about cognitive decline in old age when no one is there to care? The recent Apple TV+ limited series The Last Days of Ptolemy Grey (Walter Mosley, 2022) anticipates this question but offers a “fairy tale” answer that elides the fact that the contemporary dementia crisis is also a care crisis.","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":"67059513","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: Media Hot and Cold, by Nicole Starosielski","authors":"Samir Bhowmik","doi":"10.1525/fq.2022.75.4.99","DOIUrl":"https://doi.org/10.1525/fq.2022.75.4.99","url":null,"abstract":"","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"51 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67059003","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 : 2022-01-01DOI: 10.1525/fq.2022.76.1.106
Ana Almeyda-Cohen
{"title":"Review: The White Indians of Mexican Cinema: Racial Masquerade throughout the Golden Age, by Mónica García Blizzard","authors":"Ana Almeyda-Cohen","doi":"10.1525/fq.2022.76.1.106","DOIUrl":"https://doi.org/10.1525/fq.2022.76.1.106","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":"67059052","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, Slava Greenberg discusses the documentary Code of the Freaks (2020), in which thirteen disabled activists, artists, and scholars respond to hundreds of movie clips stereotypically portraying disability. He situates the film in relation to other “Hollywood shaming” documentaries that construct “Hollywood” as a collective archive to historicize the othering of their communities. Greenberg suggests that Code of the Freaks marks a shift in the evolution of this subgenre from educating the general audience to addressing their own community members as desired, even privileged, spectators.
在这篇文章中，斯拉瓦·格林伯格讨论了纪录片《怪胎密码》(2020)，在这部纪录片中，13位残疾人活动家、艺术家和学者对数百个刻板描绘残疾人的电影片段做出了回应。他将这部电影与其他“好莱坞羞辱”纪录片联系起来，这些纪录片将“好莱坞”构建为一个集体档案，将他们社区的他者历史化。Greenberg认为，《Code of the Freaks》标志着这一亚类型游戏的发展发生了转变，即从教育普通用户转变为将自己的社区成员当成自己想要的，甚至是特权的观众。
{"title":"The General Audience Talks Back","authors":"Slava Greenberg","doi":"10.1525/fq.2022.76.2.31","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.31","url":null,"abstract":"In this essay, Slava Greenberg discusses the documentary Code of the Freaks (2020), in which thirteen disabled activists, artists, and scholars respond to hundreds of movie clips stereotypically portraying disability. He situates the film in relation to other “Hollywood shaming” documentaries that construct “Hollywood” as a collective archive to historicize the othering of their communities. Greenberg suggests that Code of the Freaks marks a shift in the evolution of this subgenre from educating the general audience to addressing their own community members as desired, even privileged, spectators.","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":"67059335","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 ponders the power of the cinematic close-up in an era when the screened face is a ubiquitous presence on phones in selfies, front-facing videos, and Zoom grids alike. Taking Roland Barthes and Argentine writer Manuel Puig’s reverence for the faces of the silver screen sirens of Classical Hollywood as his starting point, Betancourt discusses the focus on the face in two recent films: the Mexican film Dos estaciones (Juan Pablo González, 2022) and the Chilean film Vendrá la muerte y tendrá tus ojos (Death Will Come and Shall Have Your Eyes, José Luis Torres Leiva, 2019). Although they have little in common thematically or aesthetically, both films share a focus on older queer female protagonists along with the visual grammar of the face, allowing Betancourt to appreciate the power of the close-up anew.
{"title":"The Status of the Close-Up in the Age of the Selfie","authors":"Manuel Betancourt","doi":"10.1525/fq.2022.76.1.75","DOIUrl":"https://doi.org/10.1525/fq.2022.76.1.75","url":null,"abstract":"FQ columnist Manuel Betancourt ponders the power of the cinematic close-up in an era when the screened face is a ubiquitous presence on phones in selfies, front-facing videos, and Zoom grids alike. Taking Roland Barthes and Argentine writer Manuel Puig’s reverence for the faces of the silver screen sirens of Classical Hollywood as his starting point, Betancourt discusses the focus on the face in two recent films: the Mexican film Dos estaciones (Juan Pablo González, 2022) and the Chilean film Vendrá la muerte y tendrá tus ojos (Death Will Come and Shall Have Your Eyes, José Luis Torres Leiva, 2019). Although they have little in common thematically or aesthetically, both films share a focus on older queer female protagonists along with the visual grammar of the face, allowing Betancourt to appreciate the power of the close-up anew.","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":"67059561","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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