ISSN / EISSN : 0015-1386 / 1533-8630
Published by: University of California Press (10.1525)
Total articles ≅ 9,598
Latest articles in this journal
Film Quarterly, Volume 75, pp 33-34; https://doi.org/10.1525/fq.2021.75.1.33
Film Quarterly, Volume 75, pp 99-102; https://doi.org/10.1525/fq.2021.75.1.99
Film Quarterly, Volume 75, pp 5-9; https://doi.org/10.1525/fq.2021.75.1.5
Film Quarterly, Volume 75, pp 23-32; https://doi.org/10.1525/fq.2021.75.1.23
This article analyses the short film and multi-screen installation of America (2019/2020) and the documentary feature Time (2020) by Garrett Bradley as works of radical historiography. The materiality of the gestures of tearing and stitching are a key to understanding Bradley’s methodology as a double gesture of disassembly and reassembly. The use of the lost and recovered fragments of the 1913 Lime Kiln Club Field Day in America and private self-documentation of home movies in Time offer disrupt dominant forms of history. Bradley’s distinctive strategy is a suturing of these archival materials with her own contemporary footage, yielding an aesthetic of fluid black-and-white quilting. Bradley’s abolition poetics function as an urgent contemporary process of recovery that, without ignoring or eliding the traumas of present or past violence, suggests that there can yet be an acknowledgment of the generative potential of the beauty processes of survival that have always been generated alongside them.
Film Quarterly, Volume 75, pp 10-22; https://doi.org/10.1525/fq.2021.75.1.10
Kathleen McHugh explores the complex functions of women’s anger in the work and aesthetic circuitry—culture, texts, audience, reviewers—of contemporary feminist filmmakers. For all its ubiquity as a feminist feeling, anger has been little considered critically. While 1970s white theorists of feminine/feminist film aesthetics did not mention anger, feminist lesbian, materialist, and women-of-color critics lamented its absence. Julie Dash’s 1982 Illusions inaugurated an aesthetics of anger from a Black feminist perspective that exemplified the ideas in Audre Lorde’s foundational 1981 essay, “The Uses of Anger.” Drawing from Lorde’s and Sara Ahmed’s ideas about the creative value of feminist anger, together with recent affect theory on “reparative reading” and “better stories,” the essay explores four contemporary directors’ films and media works for how anger shapes their texts and critical reception and cultivates a mode of affective witness in their audiences.
Film Quarterly, Volume 75, pp 102-105; https://doi.org/10.1525/fq.2021.75.1.102
Film Quarterly, Volume 75, pp 110-112; https://doi.org/10.1525/fq.2021.75.1.110
Film Quarterly, Volume 75, pp 62-69; https://doi.org/10.1525/fq.2021.75.1.62
In celebration of the Pacific Film Archive at 50, Josslyn Luckett, a former student of PFA programmer and UCBerkeley professor Albert Johnson reflects on the global reach of his career and legacy. One of the founding “co-conspirators” of Film Quarterly, Johnson presented African, Asian, and Latin American cinema at the PFA for three decades, while programming U.S. directors from Vincente Minnelli to Melvin Van Peebles across the globe. While Johnson became known for his iconic “Craft of Cinema” profile series at the San Francisco International Film Festival (SFIFF), this article highlights under-acknowledged aspects of his film curation and writing, including his early championing of many of the independent Black directors known now as the L.A. Rebellion.
Film Quarterly, Volume 75, pp 79-83; https://doi.org/10.1525/fq.2021.75.1.79
FQ columnist Rebecca Wanzo examines the new genre of “gentrification” films and documentaries that has emerged during the first two decades of the 21st century. Gentrification documentaries, such as Laura Poitras and Linda Goode Bryant’s Flag Wars (2003), tend to highlight not only displacement but the effects arising from class disparities that have become hypervisible with the proximity of new, affluent residents. In fictional films, however, gentrification has been a new iteration of what Paula Massood has characterized as “Black city cinema”—films in which migration and “visual and aural iconography” play a role in defining Black bodies in city spaces. Wanzo argues that the ephemerality and ambivalence arising from the displacement produced by gentrification is perhaps best exhibited by two recent fictional films: The Last Black Man in San Francisco (Joe Talbot, 2019) and Residue (Merawi Gerima, 2020). These elegiac works explore how gentrification eliminates spaces for Black men to inhabit.
Film Quarterly, Volume 75, pp 105-108; https://doi.org/10.1525/fq.2021.75.1.105