Author: Film Quarterly

Spring 2023: Volume 76, Number 3

MADUBUKO DIAKITÉ’S RADICAL DOCUMENTARY

POWER DYNAMICS IN TV TECH DRAMAS

DOSSIER: THE “BLACK INFINITE” IN
DUMBO, ST. LOUIS BLUES, ATLANTIQUE(S),
EXTERMINATE ALL THE BRUTES, AND T

COLUMNS: VIOLA’S BODY, FEMALE EMPOWERMENT
IN PHYSICAL, AND TELLING LATIN AMERICA’S HISTORIES

PAGE VIEWS: UNCOMFORTABLE TELEVISION

Webinar: The New Disability Media – Part I

On February 10th, Film Quarterly explored new directions in disability film and media in part one of its two-part webinar series (part two hosted on February 24th) discussing its special dossier “The New Disability Media” (Winter 2022) co-presented with NYU’s Center for Disability Studies and Center for Media, Culture & History.  With Neta Alexander (Colgate University), Reid Davenport (I Didn’t See You There), Jordan Lord (Shared Resources), Mara Mills (NYU), and Pooja Rangan (Amherst College). Moderated by dossier co-editors B. Ruby Rich (Film Quarterly), Faye Ginsburg (NYU) and Lawrence Carter-Long (DisArt).

Julia Child in Three Acts

In 1962, a middle-aged cookbook author named Julia Child made an impromptu omelet on educational television. On the program “I’ve Been Reading” to discuss her new book, Mastering the Art of French Cooking, she commanded a hot plate and whisked up lunch for the tweed-clad academic host.

The Effect of the Real: A Conversation with Karim Aïnouz

In 2002, Karim Aïnouz’s first feature film, Madame Satã, premiered in the Un Certain Regard section of Cannes with a trigger warning attached. One of the first queer feature films to come out of Brazil, it presented an unvarnished representation of a real-life character—João Francisco dos Santos, a street-smart drag queen—which evidently caused concern for the festival organizers. In the event, half of the audience walked out, incensed by a tensely homoerotic sex scene.