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An Introduction 介绍
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.76.3.36
M. Gillespie
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引用次数: 0
Between Sound and Image 声音与图像之间
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.76.3.48
Julie Beth Napolin
{"title":"Between Sound and Image","authors":"Julie Beth Napolin","doi":"10.1525/fq.2023.76.3.48","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.48","url":null,"abstract":"In 1929, the “Empress of the Blues” Bessie Smith made her only known film appearance in a short, two-reel film by Dudley Murphy, St. Louis Blues, titled after the W.C. Handy song that Smith had made famous. One prefiguration of the music video medium, it was the first film to be made to a preexisting song. Sixty years later, the song moves into a third instantiation when Isaac Julien returns to a fragment of Smith’s film performance in his dreamy Looking for Langston. It situates Smith in the context of Black queer literary voicings and media history more generally, thus assuring a primary place for Smith in the history and theory of film. Taken together, these films acousmatic voices provide the material for an aesthetic theory of Black queer film as an ongoing, questioning encounter between sound and image, one where the otherworldly takes precedence over realism.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Histories We Tell 我们讲述的历史
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.76.3.82
Manuel Betancourt
{"title":"The Histories We Tell","authors":"Manuel Betancourt","doi":"10.1525/fq.2023.76.3.82","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.82","url":null,"abstract":"FQ columnist Manuel Betancourt discusses the emphasis on history and memory in recent Latin American cinema. Taking Pablo Larraín’s No (2012), about the plebiscite that marked the end of the Chilean dictator Augusto Pinochet’s regime, as an ur-text, he examines the more recent films Bardo, falsa crünica de unas cuantas verdades (Bardo, False Chronicle of a Handful of Truths, dir. Alejandro González Iñárritu, 2022), Nuestra película (Our Movie, dir. Diana Bustamante, 2022), and Argentina, 1985 (Santiago Mitre, 2022). These films suggest that Latin American filmmakers are again claiming cinema as an active participant in fashioning how the region’s history is understood, both from within and abroad. Building on the metafictional conceit that to (re)write history is to (re)shape it, they highlight the “story” aspect of “history” by asking viewers to (re)examine how and what one chooses to see, to watch, to remember.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Review: Deadpan: The Aesthetics of Black Inexpression, by Tina Post 书评:《面无表情:黑人表达的美学》，蒂娜·波斯特著
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.76.4.103
Lauren Treihaft
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引用次数: 0
Inflection Points 拐点
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.76.4.5
B. Rich
{"title":"Inflection Points","authors":"B. Rich","doi":"10.1525/fq.2023.76.4.5","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.5","url":null,"abstract":"","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"237 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Wallmapu in Contemporary Chilean Cinema 当代智利电影中的瓦尔马普
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.77.1.56
Iván Pinto, Carolina Urrutia
{"title":"Wallmapu in Contemporary Chilean Cinema","authors":"Iván Pinto, Carolina Urrutia","doi":"10.1525/fq.2023.77.1.56","DOIUrl":"https://doi.org/10.1525/fq.2023.77.1.56","url":null,"abstract":"Chilean cinema has developed alongside the political changes of the past decade. Its aesthetic is one of discordance or disjuncture (desajuste), in which political and social issues seep into the country’s films through a variety of formal practices. Films made between 2010 and 2020 oscillate between an adherence to realism and the principle of “processualism” (procesualidad) as a way of revealing the mechanisms of representation and thus highlighting their own mediation. This article examines such an aesthetic of disjuncture by studying the cinematic representation of the conflict between the state and the Indigenous Mapuche people through the films El verano de los peces voladores (The Summer of Flying Fish, Marcela Said, 2013), Mala junta (Bad Influence, Claudia Huaiquimilla, 2016), Rey (King, Niles Atallah, 2017), and Notas para una película (Notes for a Film, Ignacio Agüero, 2022).","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67062490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Can’t No Grave Hold My Body Down 没有坟墓不能埋葬我的身体吗
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.76.3.73
M. Gillespie
{"title":"Can’t No Grave Hold My Body Down","authors":"M. Gillespie","doi":"10.1525/fq.2023.76.3.73","DOIUrl":"https://doi.org/10.1525/fq.2023.76.3.73","url":null,"abstract":"The filmmaker Keisha Rae Witherspoon has said, “Film is a type of spell.” In her short film T (2019), she conjures a conceit of how to carry the dead or how to imagine living on with and without them. Set in Liberty City, Miami’s historically black neighborhood, T poignantly stages a notion of memorialization that refigures mourning as incarnation spectacles that refuse to be held suspended by the grief, ache, representational recurrence, and despair over black death. In this essay, Michael Boyce Gillespie examines how T’s staging of a ball devoted to the celebration of the black dead emplots the cultural legacies of black death and precarity within a praxis of resistance, survival, and the fabulous.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67060984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Review: Horror Film and Otherness, by Adam Lowenstein 书评:《恐怖电影与异类》，作者:亚当·洛温斯坦
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.76.4.105
M. S. Johnson
{"title":"Review: Horror Film and Otherness, by Adam Lowenstein","authors":"M. S. Johnson","doi":"10.1525/fq.2023.76.4.105","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.105","url":null,"abstract":"","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Review: Sirens of Modernity: World Cinema via Bombay, by Samhita Sunya 书评:《现代性的警笛:从孟买看世界电影》，作者:萨姆希塔·苏亚
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.76.4.106
Swapna Gopinath
{"title":"Review: Sirens of Modernity: World Cinema via Bombay, by Samhita Sunya","authors":"Swapna Gopinath","doi":"10.1525/fq.2023.76.4.106","DOIUrl":"https://doi.org/10.1525/fq.2023.76.4.106","url":null,"abstract":"","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67061489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Review: Italian Political Cinema: Figures of the Long ’68, by Mauro Resmini 书评:《意大利政治电影:68年的人物》，作者:Mauro Resmini
IF 0.5 3区 艺术学
FILM QUARTERLY Pub Date : 2023-01-01 DOI: 10.1525/fq.2023.77.1.103
Juan Camilo Velásquez
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引用次数: 0
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