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.
Kathleen McHugh’s essay is accompanied by video clips that can be viewed here. Jane Campion and Jenji Kohan each premiered television series in 2013 that used genre to facilitate pointed interventions in postfeminist representational paradigms. Along with other contemporary female-centered television series, Campion’s Top of the Lake and Kohan’s Orange is the New Black have garnered extensive popular and promotional attention. That discourse, together with commentary regarding Campion and Kohan as feminist auteurs, provides a discursive environment for Top and Orange at odds with much postfeminist female-centered programming that has emerged since Ally McBeal (1997) defined the paradigm.