Film Quarterly’s webinar series showcasing the best in recent film and media studies publications, continued on April 2nd with a conversation between Page Views editor Bruno Guaraná and Professor Lúcia Nagib (University of Reading) about her groundbreaking new book, Realist Cinema as World Cinema (Amsterdam University Press, 2020), introduced by FQ editor-in-chief B. Ruby Rich.
In her latest book, Realist Cinema as World Cinema: Non-Cinema, Intermedial Passages, Total Cinema, Lúcia Nagib suggests that the integrity with which The Act of Killing (Joshua Oppenheimer, Christine Cynn, and anonymous, 2012) presents its subjects—as performers, producers, and spectators of their own reenactments—directly affects their reality.
Film Quarterly’s new webinar series showcasing the best in recent film and media studies publications continued on December 14th, 2020 with a conversation between Page Views editor Bruno Guaraná and Jaimie Baron about her new book, Reuse, Misuse, Abuse: The Ethics of Audiovisual Appropriation in the Digital Era (Rutgers University Press, 2020). In this era of fake news and digital manipulation, Reuse, Misuse, Abuse offers an urgent discussion of the ethical and political stakes involved in the repurposing of audiovisual media. Introduced by FQ editor-in-chief B. Ruby Rich. Bruno Guaraná’s interview with Jaimie Baron appears in the Winter 2020 issue of Film Quarterly. A pdf download of the introduction from Reuse, Misuse, Abuse will be available through the webinar and at https://filmquarterly.org.
Page Views editor Bruno Guaraná interviews Jaimie Baron about her new book, Reuse, Misuse, Abuse: The Ethics of Audiovisual Appropriation in the Digital Era.
On September 25th, Film Quarterly launched PAGE VIEWS LIVE, its new webinar series showcasing the best in recent film and media studies publications. The series kicked off with a conversation between Page Views editor Bruno Guaraná and Samantha N. Sheppard about her highly anticipated new book, Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen.
A Black man wearing a noose around his neck, filmed from a low angle. This brief, cryptic shot opens Haile Gerima’s short film Hour Glass (1971). A cut, and the character is reintroduced as a college basketball player, first at practice, then in a game, surrounded by other Black athletes. They work the ball while, as Umar Bin Hassan—member of the legendary Harlem collective the Last Poets—recites on the soundtrack, “The white man is cuttin’ off their balls.” Glancing toward the white spectators in the bleachers, the ballplayer seems to experience an epiphany, comprehending his objectification and commodification as an athlete.
If you had happened to attend the December 8, 1929, screening of Fox Movietone Follies (David Butler and Marcel Silver, 1929) at the opening of the Moulin Rouge cinema in Paris, you would certainly remember the raucous audience that surrounded you. If reports are to be believed, you might have been among the patrons outraged by the poorly written French subtitles—“deplorable” French, really. You may have joined others that night or the following weekend in vandalizing chairs and throwing pieces of furniture at the screen, with shouts of “Shut up” or “In French!” But maybe you were there for a romantic rendezvous, in which case the film and the music and the subtitles mattered a lot less than having your evening marred by unhappy, snobbish viewers. Whatever the hypothetical situation, imagining yourself as a willing participant in Parisian film culture from the era of early sound cinema to around 1950 is nearly inevitable while reading Eric Smoodin’s Paris in the Dark: Going to the Movies in the City of Light, 1930–1950.
In Lino Brocka’s Bona (1980), Filipina star Nora Aunor plays the titular character, who grows infatuated with Gardo (Phillip Salvador), a B-movie actor and stuntman. Bona gives up the comfort of her middle-class home, leaving behind her family and boyfriend, to live with Gardo in a Manila slum. She dedicates her life to serving Gardo full-time, in spite of the many abuses to which he subjects her. Illustrating the imbalance of their relationship, Bona bathes her lover every night, ensuring the water is always warm enough for his liking, even after he brings other women home for his sexual adventures. At the end of the film, after being told by Gardo that she should leave his home, Bona gives him one more bath—this time with boiling water. Bona watches her lover scream in agony as she carries out her vengeance with the same serenity with which she had formerly carried out his bidding. Balancing highly emotional scenes with a quasi-documentary depiction of decaying Manila streets, Brocka reconfigures film melodrama into a defiant political act.
On the morning of August 20, 2019, a man hijacked a bus with thirty-five passengers in Rio de Janeiro, causing a standoff with the police on the bridge that connects that city with its neighbor to the east, Niterói. As the hijacker threatened to burn down the bus with gasoline, helicopters hovered over the scene, and news channels recorded every move they could capture from both parties. A few hostages had been released by the time the hijacker was shot—and killed—by a sniper in the police force.