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.
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.
FQ Associate Editor interviews film scholar Michael Boyce Gillespie on his new book Film Blackness and the Idea of Black Film. Gillespie begins his book with a series of questions that seem to be posed to reader and author alike, for he declares that this book is “driven by the belief that the idea of black film is always a question, never an answer,” and pushes the reader to think through some of the past and present iterations of blackness in American culture and media. Gillespie shows that there have always been multiple ways of being black, becoming black, performing blackness, challenging blackness, embodying blackness, defying blackness, and transcending the conventional understanding of blackness. Read the column then download a selection from the book made available thanks to Duke University Press.
Laura Horak’s first monograph, Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908–1934, is refreshing and invigorating. In a moment when pop culture is ablaze with stories of the “novelty” of transgender and gender nonconforming people, FQ Associate editor Regina Longo was delighted to sink into a thoroughly researched book on this subject that was ten years in the making. Read the column and then download the free chapter of the book offered here for FQ readers.
FQ Associate Editor Regina Longo interviews film scholars and theorists Anton Kaes, Nicholas Baer, and Michael Cowan on their latest labor of love. The Promise of Cinema is an extraordinary anthology of primary source texts of German-language film theory, originally published between 1907 and 1933, with well over 250 carefully curated texts appearing for the first time in English-language translation. Read the column then read selects from the anthology chosen by its editors for FQ’s readers.
Homay King’s book, her second, is the kind that warrants more than one reading. But there is no awkward or dense prose, often a hallmark of theoretical texts that turn reading into an academic exercise. King talks with FQ Associate Editor Regina Longo about the process of writing this book, and her new research interests. Read the column then download the free chapter from the book chosen for FQ readers.
FQ Associate Editor Regina Longo met with Bernie Cook in Washington, DC to speak about his book Flood of Images: Media, Memory, and Hurricane Katrina. The book’s publication marks the 10-year anniversary of the storm and its aftermath. As a native of New Orleans and a media scholar, Cook approaches the subject as both an insider and an outsider. Read the column and then download the free chapter of the book offered here for FQ readers, with special thanks to UT Press.
When FQ Associate Editor Regina Longo interviewed Cara Caddoo for this column, they talked about the current state of racial politics in the United States. Despite the long road ahead and the critical, collective work that must be done to achieve equality, historians like Cara Caddoo are bringing to the surface narratives that will become part of a larger conversation of the history of race and media in the US. Read the column and a selected excerpt from Chapter 3: “Colored Theaters in the Jim Crow City.”
Eric Smoodin and Jon Lewis first met on a college campus as film studies graduate students in 1979. When the opportunity arose to talk to them about their latest collaboration, FQ Associate Editor Regina Longo welcomed the chance to learn about the process behind putting together an anthology that is very likely to become a staple in college classrooms. Read the column, then download the Introduction to the book to learn more about the editors’ motivations for this anthology.
Kristen Whissel’s latest book, Spectacular Digital Effects: CGI and Contemporary Cinema, examines the relationship between narrative and spectacle in contemporary blockbuster cinema. Whissel is no stranger to this terrain. She has been deepening her theories of spectacular narrativity since she began publishing on the subject of early cinema and the American experience of technological modernity. Read the column and then download the free chapter of the book offered here for FQ readers.