Pub Date : 2022-01-01DOI: 10.1525/fq.2022.76.2.109
Bruno Guaraná
{"title":"At the Edges of Sleep","authors":"Bruno Guaraná","doi":"10.1525/fq.2022.76.2.109","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.109","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":"67059253","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}
Ana Grgić and Antonis Lagarias report from the Thessaloniki Documentary Festival, which celebrated its 24th year with a return to in-person programming following the pandemic. Reflecting a programmatic interest in cinematic themes relating to the future of a humanity facing ecological and techno-existential threats, the festival’s focus was “postreality,” a popular term for indicating the sensory world’s mediation through images and virtual universes. Outside of this special focus on documentaries that challenge conceptions of the “real” world, films employed a range of archival materials to explore issues of individual and collective memory. The festival’s retrospective focused on the Latvian director Laila Pakalniņa, whose central preoccupation is observing and documenting a subjective view of reality.
{"title":"Thessaloniki","authors":"Ana Grgić, Antonis Lagarias","doi":"10.1525/fq.2022.76.1.79","DOIUrl":"https://doi.org/10.1525/fq.2022.76.1.79","url":null,"abstract":"Ana Grgić and Antonis Lagarias report from the Thessaloniki Documentary Festival, which celebrated its 24th year with a return to in-person programming following the pandemic. Reflecting a programmatic interest in cinematic themes relating to the future of a humanity facing ecological and techno-existential threats, the festival’s focus was “postreality,” a popular term for indicating the sensory world’s mediation through images and virtual universes. Outside of this special focus on documentaries that challenge conceptions of the “real” world, films employed a range of archival materials to explore issues of individual and collective memory. The festival’s retrospective focused on the Latvian director Laila Pakalniņa, whose central preoccupation is observing and documenting a subjective view of reality.","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":"67059596","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.2022.76.2.123
Milena Droumeva
{"title":"Review: Women’s Voices in Digital Media: The Sonic Screen from Film to Memes, by Jennifer O’Meara","authors":"Milena Droumeva","doi":"10.1525/fq.2022.76.2.123","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.123","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":"67059625","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 columnist Bilal Qureshi explores the radio origins of Jonas Poher Rasmussen’s Flee, the first film to ever be nominated for an Oscar for best documentary feature, best animated feature, and best international feature film. Trained as a radio journalist who aspired to use sound to immerse the listener in images, Qureshi finds inspiration in Flee’s unique and extraordinary merging of radio and film. Relating the true story of an Afghan refugee’s arrival in Denmark after his escape from the Taliban’s first siege of Kabul in 1989, Flee began as a radio documentary compiled from conversations between Rasmussen and “Amin,” the alias chosen by his childhood friend to protect his privacy. Animators only began visualizing the story once the radio cut was locked. While there is a topical urgency that undoubtedly makes this film of migration, loss, and war “important,” there’s more: Flee is a master class in intimacy and immersion in the form of a radio film.
{"title":"The Radio of Cinema","authors":"Bilal Qureshi","doi":"10.1525/fq.2022.75.4.73","DOIUrl":"https://doi.org/10.1525/fq.2022.75.4.73","url":null,"abstract":"Film Quarterly columnist Bilal Qureshi explores the radio origins of Jonas Poher Rasmussen’s Flee, the first film to ever be nominated for an Oscar for best documentary feature, best animated feature, and best international feature film. Trained as a radio journalist who aspired to use sound to immerse the listener in images, Qureshi finds inspiration in Flee’s unique and extraordinary merging of radio and film. Relating the true story of an Afghan refugee’s arrival in Denmark after his escape from the Taliban’s first siege of Kabul in 1989, Flee began as a radio documentary compiled from conversations between Rasmussen and “Amin,” the alias chosen by his childhood friend to protect his privacy. Animators only began visualizing the story once the radio cut was locked. While there is a topical urgency that undoubtedly makes this film of migration, loss, and war “important,” there’s more: Flee is a master class in intimacy and immersion in the form of a radio film.","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":"67058903","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 muses on the difference between responsibility and accountability in the context of nonfiction cinema’s impulse towards and history of speaking up and back to power. In keeping with his preference for poetic nonfiction over traditional documentary, he considers recent Latin American documentaries that fight against narrative rules in order ask more of their audience. He suggests that filmmakers such as Jonathan Perel, whose Corporate Accountability (2021) he discusses at length, extend this notion of accountability not only to their subjects but to their audience through untraditional approaches that force viewers to sit with their discomfort and actively engage with the images before them.
{"title":"Toward a Nonfiction Cinema of Audience Accountability","authors":"Manuel Betancourt","doi":"10.1525/fq.2022.75.3.76","DOIUrl":"https://doi.org/10.1525/fq.2022.75.3.76","url":null,"abstract":"FQ columnist Manuel Betancourt muses on the difference between responsibility and accountability in the context of nonfiction cinema’s impulse towards and history of speaking up and back to power. In keeping with his preference for poetic nonfiction over traditional documentary, he considers recent Latin American documentaries that fight against narrative rules in order ask more of their audience. He suggests that filmmakers such as Jonathan Perel, whose Corporate Accountability (2021) he discusses at length, extend this notion of accountability not only to their subjects but to their audience through untraditional approaches that force viewers to sit with their discomfort and actively engage with the images before them.","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":"67058557","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.2022.76.1.111
Nora Stone
{"title":"Review: Documentary’s Expanded Fields: New Media and the Twenty-First-Century Documentary, by Jihoon Kim","authors":"Nora Stone","doi":"10.1525/fq.2022.76.1.111","DOIUrl":"https://doi.org/10.1525/fq.2022.76.1.111","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":"67059118","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.2022.76.2.117
Hannah Hussamy
{"title":"Review: Refugees and Migrants in Contemporary Film, Art and Media, edited by Deniz Bayrakdar and Robert Burgoyne","authors":"Hannah Hussamy","doi":"10.1525/fq.2022.76.2.117","DOIUrl":"https://doi.org/10.1525/fq.2022.76.2.117","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":"67059436","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}
On the occasion of his recent essay film Mariner of the Mountains, the queer Brazilian director Karim Aïnouz reflected upon his career in a wide-ranging conversation with FQ contributing editor Alisa Lebow. Spanning themes from Aïnouz’s insider/outsider status as a gay Brazilian with a foreign name to his reputation as a consummate director of “women’s films,” the interview presents a comprehensive overview of Aïnouz’s oeuvre: from his first feature film Madame Satã to his first English-language film Firebrand, about the life of Henry VIII’s last wife Catherine Parr, currently in production.
{"title":"The Effect of the Real","authors":"Alisa Lebow","doi":"10.1525/fq.2022.76.1.54","DOIUrl":"https://doi.org/10.1525/fq.2022.76.1.54","url":null,"abstract":"On the occasion of his recent essay film Mariner of the Mountains, the queer Brazilian director Karim Aïnouz reflected upon his career in a wide-ranging conversation with FQ contributing editor Alisa Lebow. Spanning themes from Aïnouz’s insider/outsider status as a gay Brazilian with a foreign name to his reputation as a consummate director of “women’s films,” the interview presents a comprehensive overview of Aïnouz’s oeuvre: from his first feature film Madame Satã to his first English-language film Firebrand, about the life of Henry VIII’s last wife Catherine Parr, currently in production.","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":"67059487","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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