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.
Historically, the study of the idea of black film has been a fraught, insightful, and generative enterprise—be it a matter of industrial capital and its delimitation of film practice in terms of profit, or the tendency to insist that the “black” of black film be only a biological determinant and never a formal proposition. In many ways, the black film as an object of study mirrors the history of America, the history of an idea of race. While the field continues to shift and change, and the study of black film becomes more common, it is often still tokenized by the industry. Discussion about black film and media is booming in academic programs (e.g., American Studies, Women and Gender Studies, English) and in Film and Media Studies, but it is doing so even more in nonacademic spaces, with blogs, podcasts, and think pieces proliferating at a rapid pace. We offer our manifesto, recognizing that film manifestos never whisper. Their messages envision political, aesthetic, and cultural possibilities. They demand and plot. They question and insist. What follows are expectations bundled as concerns for not only the renderings of black film to come but, as well, the thinking on blackness and cinema that we hope will thrive and inspire future discussions. We are devising new terms of engagement with current developments in mind.
News flash: recently, my faith in the power of film was restored. Paradoxically, this lift of spirits was occasioned by witnessing film’s power in cultures where it cannot be taken for granted, where threats and constraints make access fraught or impossible, where public assembly is more difficult yet ever more desirable than back home in the United States. As much as I love the joys and ease of streaming, the surprise of online discoveries, and the thrill of privilege when a DVD or Blu-ray lands unbidden in the mailbox, I am still a sucker for the theatrical experience and the transformative power of people assembling, all together in a hall, to share a screen.
Two special evenings took place at BAMPFA on November 17 and 18, 2016 featuring filmmaker Madeline Anderson and Orlando Bagwell, former Director of the documentary program at UC Berkeley’s Graduate School of Journalism, in conversation on Anderson’s groundbreaking career.
There are many Flaherty Film Seminars. The one I first encountered was the image of a staid, cliquish institution, as shared by Jonas Mekas in his Lost Lost Lost (1976). In one extended sequence, recorded in 1963, Mekas, Ken Jacobs, and several of their friends try to crash the week-long gathering in rural Vermont with the hopes of screening Jack Smith’s Flaming Creatures (1963) and Jacobs’s Blonde Cobra (1963). They’re turned away, but no bother: the group sleeps outside in their truck and film themselves rising with the sun.
One of the most significant aspects of the wave of protests and uprisings that began in Syria in 2011 was the use of the cell phone camera as a tool of documentation, political activism, and creative expression. With professional journalists and major news networks barred from entering the country, Syrian citizens took it upon themselves to record their own protests as well as the violent reactions they provoked from members and supporters of the Assad regime. In the first few months of protests (March–June 2011), these recordings were virtually the only images coming out of Syria. Gradually, however, exiled political activists smuggled cell phones, cameras, and laptops into Syria with the specific aim of documenting protests and violence.
By happy coincidence, Mexico in 2016 yielded two expert and moving documentaries on women, sex, and aging: María José Cuevas’s Bellas de noche (Beauties of the Night) and Maya Goded’s Plaza de la Soledad (Solitude Square). Both are first-time features by female directors. And both are attempts to reclaim previously neglected subjects: showgirls of the 1970s and sex workers in their seventies, respectively. Moreover, lengthy production processes in which the filmmakers cohabitated with their subjects have resulted in films that are clearly love letters to their protagonists.
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.”