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
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.”
A special dossier on Chantal Akerman with articles by dossier co-editor Ivone Margulies, Laura Mulvey, and an interview by B. Ruby Rich; plus the first English language translations of some of Akerman’s work, a post-mortem bibliography of writing on Akerman, a special video tribute to Akerman and the importance of sound in her films by Barbara McBane; a report from the goEAST film festival, and a rich slate of book reviews round out this “back to school” issue.
FQ Editor-in-Chief B. Ruby Rich’s roundup of the Summer 2016 issue: Volume 69, Number 4. Rich recalls the early years of university-level film history courses, assesses the barrage of industry news that lands on her desk daily, and pays homage to Richard Dyer, who was honored by the Society for Cinema and Media Studies at their annual conference. Dyer’s first published monograph, GAYS AND FILM (1977), came into the world in a vacuum. There was simply no such field. Today, it is difficult to comprehend the force of imagination and courage required to launch such a career at such a time. Forty years ago, a grand ballroom would not have filled with people and applause for a gay scholar; today, it was unremarkable that one did.
Joao Moreira Salles & Natalia Brizuela – In conversation – April 14-15, 2016. This page contains documentation of the final two nights of the Eduardo Coutinho retrospective presented by the Pacific Film Archive at the Berkeley Art Museum (BAMPFA) in conjunction with the publication of FQ Volume 69, Number 3, with its special dossier on Coutinho.
I am not interested in the short take. I want the temporal dimension of things.—Eduardo Coutinho
Dossier co-editor (and FQ Contributing Editor) Natalia Brizuela takes up the much-debated theme of conversation in the films of Eduardo Coutinho, and juxtaposes the conversational to the questions of temporality and duration that occur across Coutinho’s entire body of work.
FQ Editor-in-Chief B. Ruby Rich and guest issue editor Natalia Brizuela introduce FQ’s dossier on the work of Brazilian filmmaker Eduardo Coutinho, who died unexpectedly in 2014. Eduardo Coutinho, the greatest documentary filmmaker in the last half-century of Brazilian cinema, is woefully underrecognized in the United States and has not been adequately incorporated into the global history of documentary cinema. This dossier aims to open up conversations about the work of Coutinho in Anglophone cinema studies, and to encourage more scholarship on the subject.
“People need a screen.” With those words, author/activist Naomi Klein galvanized the room at the CBC Glenn Gould Theatre, where a daylong documentary discussion was held in September in conjunction with the Toronto International Film Festival [see “Toronto Turns Forty” in this issue]../
Documentary has been in the grip of a shape-shifting transformation, thanks to shifts in technologies, genre, journalism, and the status of evidence and veracity. Not since the 1980s—when the invention of camcorders, VHS tape, and VCR machines, alongside the debut of cable television, fueled the last great upheaval—has the field been so explosively inventive and destabilized