Film Quarterly has been interested for some time in establishing a critical approach to works made in Virtual Reality (VR). Homay King had begun conducting interviews with Shari Frilot to that same end. FQ then invited them to make that dialogue public with a conversation on stage at UC Santa Cruz on the implications of the VR platform to be shared with FQ readers.
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
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.
Black Media Matters: The Bombing Of Osage Avenue; Jia Zhangke’s A Touch Of Sin; Mickey Horror: Escape From Tomorrow; Marguerite Duras Centennial; Interview With Eugène Green; and more…
FEATURES: A Special Dossier on The Act of Killing; An interview with Fatimah Tobing Rony; The Morelia Film Festival; Sundance at Thirty; and more…
FEATURES: Conversion and Culture Shock; Eastman Kodak RIP; plus festival reports from New York, Romania, and Sundance
Special guest columnist B. Ruby Rich reports from the Sundance Film Festival
B. Ruby Rich reports from the 2012 Sundance Film Festival and admires Beasts of the Southern Wild (Benh Zeitlin) and 5 Broken Cameras (Emad Burnat and Guy Davidi).
When the Sundance Film Festival debuted in the 1980s, it entered a landscape dominated by a small corps of well-established A-list film festivals: New York, Chicago, San Francisco. A scrappy upstart, it quickly crashed the VIP room with the help of Robert Redford’s celebrity