If you had happened to attend the December 8, 1929, screening of Fox Movietone Follies (David Butler and Marcel Silver, 1929) at the opening of the Moulin Rouge cinema in Paris, you would certainly remember the raucous audience that surrounded you. If reports are to be believed, you might have been among the patrons outraged by the poorly written French subtitles—“deplorable” French, really. You may have joined others that night or the following weekend in vandalizing chairs and throwing pieces of furniture at the screen, with shouts of “Shut up” or “In French!” But maybe you were there for a romantic rendezvous, in which case the film and the music and the subtitles mattered a lot less than having your evening marred by unhappy, snobbish viewers. Whatever the hypothetical situation, imagining yourself as a willing participant in Parisian film culture from the era of early sound cinema to around 1950 is nearly inevitable while reading Eric Smoodin’s Paris in the Dark: Going to the Movies in the City of Light, 1930–1950.
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.
Handmaid’s Political Terror
Documentary & Accountability
Pressure and Guerrilla: British Black Film Legacies
RIP Nelson Pereira Dos Santos
Interview: Brett Story
Palestinian Revolutionary Cinema
Festivals: Orphans, Cinéma du réel
Interviews with Barry Jenkins, and Maren Ade
Girl Power on Screen in Girlhood, The Fits, Arrival, Into the Forest, and Certain Women
Queen Sugar in Column Debut
Cuban Retrospective at DocLisboa
RIP Juan Gabriel
FQ Editor-in-Chief B. Ruby Rich weighs in on the latest issue of FQ, new trends in streaming, FQ‘s panel at Film Society of Lincoln Center, and what media makers, critics, and scholars might do toward a new “cinema of urgency.”
Michael Boyce Gillespie interviews Barry Jenkins on his Oscar winning film Moonlight, the process of adapting Tarrell Alvin McCraney’s stage play to the screen, the filmmakers that Jenkins most admires, and what it means to be a black American filmmaker today.
Over the past few years “Page Views” has become a space for FQ to highlight some of the most compelling new scholarship in the field of film and media studies. In collaboration with university presses and scholars, “Page Views” provides a dynamic showcase for critical texts and allows authors the opportunity to think through the impact of their works on the crossover audience that remains a hallmark of FQ’s readership. This column marks the first time that Associate Editor Regina Longo interviews two authors of two books written specifically for the crossover audience. Noah Isenberg discusses We’ll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood’s Most Beloved Movie and Glenn Frankel talks about High Noon: The Hollywood Blacklist and the Making of an American Classic.
On December 13, 2016, a month after the presidential election, Film Quarterly organized an emergency panel with the sponsorship of the Film Society of Lincoln Center. Staged amid the political aftershocks, the event at the Elinor Bunin Munroe Film Center’s Amphitheater brought together eight panelists from wildly divergent arenas to engage a rapt audience with its central theme: “Film & Media in A Time of Repression: Practices and Aesthetics of Resistance.”
Interview with Julie Dash
Latin American Cinema in Circulation
The Battle of Algiers at 50
Spike Lee’s Satire in a Time of Sorrow
Race, Gender, and Genre in Spec Ops: The Line
The Horror of Facebook Live
FQ Associate Editor Regina Longo talks with Rosalind Galt and Karl Schoonover about their book Queer Cinema in the World. From the introductory pages the co-authors plot a course for their readers by mapping the themes they will address throughout the book: counterpublics, covert and overt identities, and the legibility of sexuality and politics across and between different (social, political, economic, national, regional, linguistic) cultures and different cinematic cultures.