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
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).
Annie Berke on Marvel’s attitude towards its actors, who are “versatile as a void.”
Monique Wittig’s 1966 essay on Jean-Luc Godard, her first piece of criticism.
Interviews: Grace Lee and Jon-Sesrie Goff
Dossier: The New Disability Media
Festival Reports: Il Cinema Ritrovato, Telluride
Columns: Yellowstone, Latin American Feminist Horror, and the New Real World
Page Views: Jean Ma’s Sleepy Cinema
Page Views editor Bruno Guaraná interviews Jean Ma about her new book At the Edges of Sleep: Moving Images and Somnolent Spectators.
Leshu Torchin on the emerging measures for care in the media industry–and how they fall short.
Nolan Kelly on the renewed urgency of Loznitsa’s documentaries at this historical moment.
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.
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.