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.
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.
First things first: this issue marks the arrival of Rebecca Prime as Associate Editor of Film Quarterly. Rebecca first published a book review in FQ back in 2006 and also had one in the last issue, with articles in other journals in the interim. Rebecca is a film historian, editor of Cinematic Homecomings: Exile and Return in Transnational Cinema (Bloomsbury, 2014), and author of Hollywood Exiles in Europe: The Blacklist and Cold War Film Culture (Rutgers University Press, 2014).
B. Ruby Rich From Film Quarterly Summer 2018, Volume 71, Number 4 Turning sixty is a landmark. No, not mine: it is Film Quarterly that this year marks its ripe old age and can reassert its claim as the oldest continuing film journal in the United States. Thanks to its dedicated contributors, staff, editorial boards, and, of course, the University of California Press, its publisher and steward, FQ remains young and vital even today, alive and kicking, and, I’d like to think, better than ever. Anniversary celebrations kicked off in Toronto in March, where the annual Society for Cinema and Media Studies (SCMS) conference offered an occasion for the FQ reception at SoHo House. The gathering was a wonderful mix of Toronto locals, FQ contributors and masthead notables, Criterion moguls, UC Press staff, and a kinship network of FQ friends and family. A slideshow of Film Quarterly through the ages was assembled and presented by FQ editorial assistant, Marc Francis. A first run of postcards drawn from four different editorial eras (Ernest Callenbach, Ann Martin, …
Editor in Chief, B. Ruby Rich, weighs in on the latest in film and media culture. She recaps the recent “Dimensions in Black” event that FQ hosted at Film Society of Lincoln Center in New York City to launch our December 2017 issue; reviews the content of the current issue; pays tribute to notable voices in the field that have passed on; and hints at things to come in FQ’s 60th anniversary year.
“FQ” the Film Quarterly podcast presents SUNDANCE EDITION 2018.
Happy new year, everyone!
“FQ” the Film Quarterly podcast presents REFLECTIONS ON FILM IN 2017. Bilal Qureshi, columnist of “Elsewhere,” and B. Ruby Rich, Editor, Film Quarterly, wrap up the year by discussing some highlights. It is a step outside of listmania– have a listen and share!
Editor in Chief, B. Ruby Rich, weighs in on the latest in film and media culture. She recaps the recent Visible Evidence conference that took place in Buenos Aires, Argentina; reviews the content of the current issue, and introduces the important dossier on black film and media.
The idea that a struggle can be waged via cinema is an appealing one today, as so many other battlefields seem already lost. For me, there is always hope lurking in film and television and, increasingly, online media. Political obstacles may seem insurmountable, but as I am fond of declaring: nobody has to elect a film. You can buy your ticket or download the new season or share the latest upload or streaming evidence and—at press time, at least—no one can stop you.
Editor B. Ruby Rich weighs in on the latest issue of FQ, new revivals in a time of duress, trends in distribution, FQ’s approach to watching, writing, thinking about cinema and media in a time of ongoing political repression, and more.