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.
David Sterritt reviews this smart and concise introduction to cinema, the latest entry in Oxford’s “Very Short Introduction” series.
Each of the books under review assures us that Frankenheimer’s The Manchurian Candidate (1962), which had been withdrawn from circulation sometime after the J. F. Kennedy assassination, was first re-exhibited at a special screening at the New York Film Festival in 1987, a screening which in Stephen Armstrong’s words “eventually prompted United Artists to give the film a second theatrical release”.
National identity is predicated, in part, on the intentional forgetting or remembering of historical events, and cinema plays a role in these processes. In The Afterlife of America’s War in Vietnam, Gordon Arnold traces the many incarnations of the war in American popular culture, deftly demonstrating that retellings of the conflict are often intertwined with political rhetoric.
Progressive era American cinema, Sicko, British music subcultures, Chaotic Ana, London Avant-garde, Mindframes, and an interview with David Gatten
READ: From Handmade to Hi-tech; A Backlot in Bulgaria; Playing Undead; Myths, Mothers, and Monoliths
Stanley Kubrick, Film Noir, and Transnationality and Identity. Plus reviews of Dog Days, No Man’s Land, and The Merchant of Venice
READ: a review of No Man’s Land
Disney’s Silly Symphonies, Russian Ark, Harry Langdon, and part 2 of our Annual Film Book Survey. Plus reviews of Spring, Summer, Fall, Winter . . . and Spring, and Lost in Translation
READ: a review of Lost in Translation