Girish Shambu on how film culture might rethink film evaluation to raise the visibility and value of films made by women.
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.
James Baldwin: Vocalizing History
Digital Sovereignty Online
Billy Woodberry’s Return to Form
Thriller’s Queer Feminist History
Rotterdam & Sundance Festivals
Writings on Juana Inés, Jackie, Earth
and Kate Plays Christine
RIP John Berger