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
Interview with Julie Dash
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 Editor-in-Chief B. Ruby Rich’s quarterly roundup of the issue: Winter 2014, Volume 68, Number 2. She recounts her chance meeting at the Toronto Film Festival with celebrated director Zhang Yimou, the IDA convening with the Academy of Motion Picture Arts and Sciences in LA, which she attended, and what the new industry buzzword— “metrics”—portends for the field.
FEATURES: The role of voice in Paul Thomas Anderson’s The Master; The Western Film And Psychoanalysis; Xavier Dolan Gets Respect; The Cinematic Life Of The Implosion; plus Festival Reports, Page Views, and more…
Edward Buscombe reviews The West, 1898–1938, the latest boxed set from the National Film Preservation Foundation.
A review of the cult British TV show, A Very Peculiar Practice, a black comedy set in a regional university in the Thatcher era.
FEATURES: The traveling films of Hiroshi Shimizu, Rosellini’s Pictorial Histories, an exploration of Inception, and a review of The Social Network.
READ: Homesickness, The Looking Class, Park City Remix, and an interview with Andrei Ujică
I remember seeing The H-ManThe H-Man on television one late evening in early adolescence; it was a silly specimen of an already cheesy 1950s genre, the “made in Japan” sci-fi/horror film . . . But a DVD explosion has caused The H-Man to mutate into a beautiful and genuinely harrowing new form:
The Internet may have finally delivered avant-garde filmmakers the audience they always claimed they wanted. With experimentation rejected by the moving-image industry, and moving image shunned by commercial art galleries until the 1970s, film and video artists in the twentieth century relied on film festivals, grassroots film clubs, artist-run co-operatives, and art school curricula as channels of distribution.
FQ Editor Rob White charts a course through the Autumn 2008 issue, on the occasion of FQ’s golden anniversary. In the fall of 1958, fifty years ago, the inaugural issue of Film Quarterly was published, and it is fascinating to revisit those first years, when the European New Wave cinemas generated a scintillating critical energy in a pioneer magazine. In this anniversary issue, founding editor Callenbach recalls FQ’s origins and traces the development of its agenda; James S. Williams argues that Antonioni’s cinema opened up whole “new spaces of thought and being”; while D. A. Miller reconsiders Visconti’s epic melodrama and its strange “larval beauty.”