In June 2021, the story broke that Donald Trump had asked advisers and lawyers to investigate whether the Department of Justice could probe sources of satirical late-night comedy, like Saturday Night Live, that made fun of him.1 The fact that Trump would melt down, usually on Twitter, after he saw satire critical of him had been surprising enough.
Dossier: the Resilient Spring of Arab Cinema, Ten Years After
The Underground Railroad Roundtable and Barry Jenkins Interviewed
Irony in the Trump Era
Festivals: Black Star, Telluride
Latin American Animation, White Lotus, Scrolling Ennui, Union Organizing on TV
Girish Shambu on the cinema of futurity at International Film Festival Amsterdam (IDFA).
J. M. Tyree analyzes the workings of non-whiteness and color in “The Green Knight.”
Film Quarterly’s webinar series showcasing the best in recent film and media studies publications continued on September 24th with a conversation between Page Views editor Bruno Guaraná (Boston University) and Rashna Wadia Richards (Rhodes College) about her new book, Cinematic TV: Serial Drama Goes to the Movies (Oxford University Press, 2021), introduced by FQ editor-in-chief B. Ruby Rich.
As the year 2021 crept along, it became increasingly schizophrenic. Emerging from pandemic lockdowns was euphoric—until news of the redubbed Delta variant began to dash hope and cause doubt or panic. Still, theaters announced their reopenings and cinephiles flocked, some nervously, some exuberantly. The Pacific Film Archive, profiled in this issue, set September 1 as its indoor reopening date.
Film Quarterly’s webinar series showcasing the best in recent film and media studies publications continued on June 22nd with a conversation between Page Views editor Bruno Guaraná and Philip Scepanski (Marist College) about his new book Tragedy Plus Time: National Trauma and Television Comedy (University of Texas Press, 2021), introduced by FQ editor-in-chief B. Ruby Rich.
A major theme of Steve McQueen’s Small Axe series is West Indian joy. West Indian immigrants’ struggles against state resistance to everyday black life. In a rather profound contrast to McQueen’s other work—in which long takes of suffering bodies draw the viewer into the inescapability of the pain experienced by his subjects—joy disrupted provides the counterpoint to bodies in pain. Striking this balance between suffering and joyous bodies is one of the reasons that McQueen’s series may be his best effort yet to move between art cinema and popular genres.
Documentary’s Radical Unreal
The Antipodal in Argentine Documentary
Women and Work in South Korean Cinema
Death in Venice at Fifty
Special Focus on “Small Axe”
Remembering Walter Bernstein
On May 27th, FQ’s B. Ruby Rich moderated a discussion with FQ contributors Christian Rossipal and James Williams and filmmakers Amel Alzakout (Purple Sea, 2020) and Dagmawi Yimer (Asmat, 2015) on new forms of expression in documentaries about Europe’s refugee crisis.