B. Ruby Rich From Film Quarterly Summer 2018, Volume 71, Number 4 Turning sixty is a landmark. No, not mine: it is Film Quarterly that this year marks its ripe old age and can reassert its claim as the oldest continuing film journal in the United States. Thanks to its dedicated contributors, staff, editorial boards, and, of course, the University of California Press, its publisher and steward, FQ remains young and vital even today, alive and kicking, and, I’d like to think, better than ever. Anniversary celebrations kicked off in Toronto in March, where the annual Society for Cinema and Media Studies (SCMS) conference offered an occasion for the FQ reception at SoHo House. The gathering was a wonderful mix of Toronto locals, FQ contributors and masthead notables, Criterion moguls, UC Press staff, and a kinship network of FQ friends and family. A slideshow of Film Quarterly through the ages was assembled and presented by FQ editorial assistant, Marc Francis. A first run of postcards drawn from four different editorial eras (Ernest Callenbach, Ann Martin, …
FEATURES: The role of voice in Paul Thomas Anderson’s The Master; The Western Film And Psychoanalysis; Xavier Dolan Gets Respect; The Cinematic Life Of The Implosion; plus Festival Reports, Page Views, and more…
FQ columnist Paul Julian Smith reflects on his recent trip to Madrid and the films he saw while there. The financial crisis is grinding into its sixth year in Spain, with youth unemployment reaching a record fifty percent. Given these urgent problems, it would be little surprise if Spaniards were to turn away from the investigation of the troubled legacy of the past that preoccupied their politics and cinema until recently. Yet I myself was in Madrid to take part in a new collective research project on cinema of the 1980s. And during a chilly January three theaters were showing period pieces set in different historical moments, revealing different attitudes to those moments, and aspiring to different levels of cultural distinction. Varied in form but surprisingly similar in content, three of my favorites that winter week were a crowd-pleasing comedy, a worthy middlebrow drama, and an experimental art movie.
Paul Julian Smith on Almodóvar’s return to the comedies of his early period.
FEATURES: Conversion and Culture Shock; Eastman Kodak RIP; plus festival reports from New York, Romania, and Sundance
Paul Julian Smith discusses the Spanish Film Screenings, including No Rest for the Wicked, The Sleeping Voice, and Wrinkles.
WEB EXCLUSIVE: Paul Julian Smith (Distinguished Professor at the Graduate Center, CUNY) discusses Pedro Almodóvar’s The Skin I Live In with FQ editor Rob White.
Mediating Torture, Vampyr, Film Culture in Madrid, New Paths for German Cinema, and the 2008 Films of the Year
READ: Heaven Knows We’re Digital Now, Cinema for a New Grand Game, The Earrings of Madame de…, La malavita: Gomorrah and Naples