Manifesto! Eleven Calls to Action
Interview: Maria Augusta Ramos
Pawlikowski’s Cold War
Getting Real Conference
China’s Festival Culture
Radical Catalan Cinema
The House of Flowers
Seventies Feminism Revisited
Recasting M.I.A.’s Image
Historically, the study of the idea of black film has been a fraught, insightful, and generative enterprise—be it a matter of industrial capital and its delimitation of film practice in terms of profit, or the tendency to insist that the “black” of black film be only a biological determinant and never a formal proposition. In many ways, the black film as an object of study mirrors the history of America, the history of an idea of race. While the field continues to shift and change, and the study of black film becomes more common, it is often still tokenized by the industry. Discussion about black film and media is booming in academic programs (e.g., American Studies, Women and Gender Studies, English) and in Film and Media Studies, but it is doing so even more in nonacademic spaces, with blogs, podcasts, and think pieces proliferating at a rapid pace. We offer our manifesto, recognizing that film manifestos never whisper. Their messages envision political, aesthetic, and cultural possibilities. They demand and plot. They question and insist. What follows are expectations bundled as concerns for not only the renderings of black film to come but, as well, the thinking on blackness and cinema that we hope will thrive and inspire future discussions. We are devising new terms of engagement with current developments in mind.
News flash: recently, my faith in the power of film was restored. Paradoxically, this lift of spirits was occasioned by witnessing film’s power in cultures where it cannot be taken for granted, where threats and constraints make access fraught or impossible, where public assembly is more difficult yet ever more desirable than back home in the United States. As much as I love the joys and ease of streaming, the surprise of online discoveries, and the thrill of privilege when a DVD or Blu-ray lands unbidden in the mailbox, I am still a sucker for the theatrical experience and the transformative power of people assembling, all together in a hall, to share a screen.
Let there be no ambiguity: the world has turned into a horror show, a modern-day political Grand Guignol of global proportions with an emerging Axis of Evil (Trump, Putin, al-Assad, and now, Bolsonaro in Brazil, to name only a few). Their bases are the virtual spaces of social media, their proscenium the many screens blanketing the planet with news alerts of the latest mass murder, police shooting, war-related atrocity, or xenophobic government policy. It has become all too common to see people look up from their laptops or phones and, with a hand clasped over their mouth, let out a guttural “Oh, my god.”
The Surveillance Apocalypse
Reclaiming Liu Na’ou
The Wolf Warrior 2 Phenomenon
Interviews: Agnes Varda and Cheryl Dunye
Raazi: Women at War
Horror Renaissance
Run Coyote Run
History Lessons from the Seventies
Festivals: Karlovy Vary and Toronto
After too many editorials penned in the shadow of the 2016 election, all suffused with a mix of nostalgia and dread, perhaps it’s time to change the lens. As a grumpy daughter, I used to complain that my anxious mother could always find the cloud around any silver lining. Consider this editorial, then, an attempt to break with such attitudes and appreciate the silver wherever it may be found. And since dire times can inspire great writing, Film Quarterly should have ample cause for celebration in future issues, too, as the news out of Washington DC shows no sign of turning any less dire—and, in fact, worsened with the Senate hearings in the fall and the confirmation of a certain Supreme Court justice (no, I will not include his name) in defiance of women’s testimonies and an unjust process grounded in brutalism and misogyny. The state of the country, the state of government, the state of cinema: these are not unrelated entities.
In this wide-ranging yet intimate interview, the iconic French filmmaker Agnès Varda reflects on her career over tea with Film Quarterly contributing editor Joan Dupont. Varda discusses the themes of feminism and freedom that unite her films, from Le bonheur (1965) to Vagabond (1985) along with her enduring interest in sharing the stories of others, as she did most recently in collaboration with the visual artist JR in Faces Places (2017). Over the course of several conversations, Varda shares insights into her methods and obsessions, her enduring vision and constant reinventions.
In 1998, Lauren Berlant and Michael Warner published an essay entitled “Sex in Public,” which now appears as the utopian vision of a bygone era. Drawing from Jürgen Habermas and Michel Foucault, Berlant and Warner called attention to the public mediation of sexuality in the United States and critiqued the heteronormative ideologies and institutions that hinged on a structural delineation of “personal life.” Where a hegemonic public sphere had been constituted by “a privatization of sex and the sexualization of private personhood,” so they argued, queer culture represented a world-making project involving the development of ephemeral, promiscuous, and often-criminal forms of intimacy—ones “that bear no necessary relation to domestic space, to kinship, to the couple form, to property, or to the nation.”
Maggie Hennefeld on Sacha Baron Cohen’s mockumentary series, and political satire in the age of post-truth politics.
Girish Shambu asks: “What will it take to break the stranglehold of male domination in filmmaking?”
