Spring 2018: Volume 71, Number 3



She Can Do It
B. Ruby Rich


From Lampedusa to the California Desert: Gianfranco Rosi’s Scenes of Living and Dying
Emma Wilson

Bong’s Song
Claudia Gorbman

Toward a Cinema of Slow Violence
Juan Llamas-Rodriguez

The Hundred-Year-Old Question: Can American Cinema Be Saved?
James Schamus


Black-ish: Kenya Barris on Representing Blackness in the Age of Black Lives Matter
Christine Acham

Abstraction Through Representation: Interview with Kevin Jerome Everson
Megan Ratner


The Vulnerable Spectator | The Jingle Jangle of History
Amelie Hastie

Screenings | Behaving Badly: Television’s Women in Prison
Paul Julian Smith

Elsewhere | The Quiet Radicalism of Columbus
Bilal Qureshi


Recurrent Themes, Entangled Histories, and Cultural Affinities: Balkan Cinema at the 58th Thessaloniki International Film Festival
Ana Grgic

Yamagata International Documentary Film Festival: Blending Tradition with Modernity
Sally Berger


“Shocking the Past into Attention,” A Conversation on Archiveology with Catherine Russell
Nicholas Baer


You Play the Girl: On Playboy Bunnies, Stepford Wives, Train Wrecks, & Other Mixed Messages by Carina Chocano
Carrie Rickey

Essays on the Essay Film edited by Nora M. Alter and Timothy Corrigan and The Essay Film: Dialogue, Politics, Utopia edited by Elizabeth A. Papazian and Caroline Eades
Charles Musser

Female Trouble: A Queer Film Classic by Chris Holmlund
Elisa Padilla

Slow Writing: Thom Andersen on Cinema, edited by Mark Webber
Aaron Cutler

Immediations: The Humanitarian Impulse in Documentary by Pooja Rangan
Almudena Escobar Lopez

Lewd Looks: American Sexploitation Cinema in the 1960s by Elena Gorfinkel
>Marc Francis

Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture by Rob King
Peter Labuza

Header Image: Fuocoammare (Fire at Sea, Gianfranco Rosi, 2016). Photo courtesy of Kino Lorber

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