Translation, broadly conceived, has been an underlying theme for much of my own research and work recently, but it is a subject that Tessa Dwyer has obviously thought through on many levels, for many years. I must admit, when I first read this book, I expected it to be bounded by the discipline of translation studies. I was very pleasantly surprised to see that Dwyer addresses so much more. From the outset of Speaking in Subtitles she asserts that translation in any media form entails risk. This gambit is an effective way to encourage readers to question their own positionalities vis-a-vis the subject and object of translation in film. What is at stake when shifting the hierarchies between sound, image, and words in a film? What is lost? What is gained? What might be a vestigial artifact or unexpected outcome?
Dimensions in Black:
Perspectives on Black Film and Media
Naeem Mohaiemen at documenta 14
Updating the Female Gaze
in I Love Dick, Glow, Insecure
Bologna, Locarno, and Toronto
For the last six months or so the idea that film criticism is undergoing an identity crisis has been gaining momentum. I carry some of the blame for this, having edited a “Who Needs Critics?” special issue of Sight and Sound, and organized and participated in public debates, some of which were even entertaining.
Change is best undertaken with a plainly stated purpose in sight. The new formats that are visible in this issue are meant to enhance Film Quarterly’s appeal to people who think seriously about movies, whether they do so inside or outside the academy.
“Democratic government is the original user-generated content”—a simple, pithy message spoken directly into the camera with clarity and conviction. James Kotecki knows what makes good YouTube; indeed, he has a claim to being the site’s single most astute user when it comes to political communication through online moving-image content.
The Namesake, French war films, Into Great Silence, The Lives of Others, Cleo from 5 to 7, YouTube; democratization v regulation
READ: A Public Place, All That Is Solid Melts Into War, The Online Stump, and The Hungry Cinema of Stephen Dwoskin