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Winter 2019: Volume 73, Number 2

Julia Reichert’s Brilliant Career
Marceline Loriden-Ivens: A Posthumous Interview
Decoding Russian Doll
Festivals: FESPACO at Fifty, Bologna, Toronto
Series: Decolonizing Cinema & New Arab Women’s Films
Columns: Mexico in the ’80s, Rural Race Genres & Brown Bodies in Brit Pop Culture

About

Combining the best of scholarship and journalism since 1959, Film Quarterly publishes in-depth articles, reviews, and interviews on all aspects of cinema, media, and society—from film classics to emergent technologies.  Film Quarterly is committed to advancing timely and intersectional approaches to the criticism and analysis of visual culture through exploring new perspectives on issues of diversity, race, gender, sexuality, and transnationalism. Masthead Editor B. Ruby Rich Associate Editor Rebecca Prime Assistant Editor Marc Francis Book Review Editor Carla Marcantonio (e-mail) Quorum Editor Girish Shambu Editorial Board Christine Acham, University of Hawai’i Chris Berry, King’s College London Natalia Brizuela, University of California, Berkeley Richard Dyer, King’s College London Racquel Gates, College of Staten Island, City University of New York Michael Boyce Gillespie, City University of New York Faye Ginsburg, New York University Noah Isenberg, University of Texas, Austin Alisa Lebow, University of Sussex Akira Lippit, University of Southern California Ivone Margulies, Hunter College, City University of New York Lisa Parks, Massachusetts Institute of Technology James Schamus, Columbia University Amy Villarejo, Cornell University João Luiz Vieira, Universidade …

Summer 2018: Volume 71, Number 4

FROM THE EDITOR Turning Sixty B. Ruby Rich FEATURES Unrest: Gender, Chronic Illness, and the Limits Of Documentary Visibility Megan Moodie Emotion Pictures: International Melodrama, A Virtual Report Linda Williams INTERVIEWS Searching For Nelly Kaplan Joan Dupont “I Was Never Afraid,” An Interview with Lucrecia Martel Gerd Gemünden and Silvia Spitta COLUMNS Letter from Madrid | La Llamada, Paquita Salas, And The Javis Paul Julian Smith Elsewhere | The War for Nostalgia: Sanjay Leela Bhansali’s Padmaavat Bilal Qureshi On Platforms | What It Means to be High Maintenance Caetlin Benson-Allott FESTIVAL REPORTS Report From Tbilisi Jerry White A Mechanism Capable of Changing Itself: Berlinale 2018 Selina Robertson The Scales of Justice: Sundance 2018 B. Ruby Rich PAGE VIEWS Cinema and the Anthropocene: A Conversation with Jennifer Fay Nicholas Baer BOOK REVIEWS Show Trial: Hollywood, HUAC, and the Birth of the Blacklist by Thomas Doherty Carrie Rickey The End of Japanese Cinema: Industrial Genres, National Times, Media Ecologies by Alexander Zahlten Rea Amit A Dance with Fred Astaire by Jonas Mekas Girish Shambu Going Viral: Zombies, …

Streaming Hope, Streaming Despair, Still Streaming

It is a human habit, perhaps, to project the present into the future—a default mode that drives forward even when the road has crumbled. So it was with film in Year One of the pandemic, characterized by a state of denial shaded with panic. By the end of 2020, film festivals were adjusting their schedules according to an imaginary “after” as if the vaccine were set to materialize imminently, universally, and magically everywhere, to step out from behind the curtain and restore life to what it used to be: movie theaters open, film festivals under way.

Theater Openings and Vaccinated Viewings in Pandemic Year Two

It has been more than a year since this editorial space filled with speculations about streaming films and the closing of theaters. It was with distinct excitement, then, that I began to read the reopening announcements. The beloved Paris Theater in New York City, with its lease now held by Netflix and with programming selected by former Museum of the Moving Image curator David Schwartz, trumpeted an Al Pacino retrospective. The Film Forum, that mainstay of downtown New York tastemaking, announced its theater’s reopening while retaining its virtual marquee, too.

Fall 2017: Volume 71, Number 1

Syrian Cellphone Documentaries
Rithy Panh’s Exiles
Emiko Omori’s Camera Eye
Virtual Reality: Beyond the Platform

Casting JonBenet, Multiple Maniacs,
Their Finest, The Jewel and the Crown,
Bellas de noche, Plaza del la Soledad

Reports from True/False, Full Frame, Orphans

When Is an Editorial Not an Editorial? The Covid-19 (Quarantine, Era 1) Edition

There is no such thing as business as usual now. And most certainly, no film as usual: every festival canceled, every movie theater dark, as the names of the closures and cancellations bring sadness and grief for curators and filmmakers, film critics and distributors, cinema owners and workers, film studies professors and students, and, yes, their audiences—all, of course, as of print time.