A long-view interview with filmmaker Billy Woodberry conducted by screenwriter and scholar Josslyn Luckett gives the filmmaker his due and reflects on his prolific career as an independent filmmaker. The unfolding of Billy Woodberry’s career—both his own new work and the recent critical revaluations of his classic work, such as the naming of Bless Their Little Hearts (1983) to the National Film Registry in 2013—makes words like “rebellion” or “revival” only marginally useful. Any research into the full range of his film work, including his multiple roles as film actor, film narrator, video installation artist, and film history and production professor at California Institute of the Arts (CalArts) since 1989, reveals a Woodberry who might be more properly termed an underground “renaissance” man than a rebel.
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
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.
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.”
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.
Black Media Matters: The Bombing Of Osage Avenue; Jia Zhangke’s A Touch Of Sin; Mickey Horror: Escape From Tomorrow; Marguerite Duras Centennial; Interview With Eugène Green; and more…
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.”