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Volume 75,
Issue 4
Summer 2022
Recently Published
Jean Ma
Days (2020) marked Tsai Ming-liang’s return to filmmaking after a long hiatus in his directorial career. In this essay, Jean Ma argues that Days signals both a return to form and a reorientation that responds to a changing landscape of moving image ...
Patricia White
In this essay, Patricia White discusses the ways in which directors Kelly Reichardt, Chloé Zhao, and Jane Campion contend with the legacy of the Hollywood Western in the context of global cinema in their recent films First Cow (2019), Nomadland ...
Tiffany Sia
Taking Back the Legislature and Inside the Red Brick Wall depict two critical events in Hong Kong’s relentless 2019 protests, illuminating the messy scrum of direct actions in unflinching detail. Produced collectively and credited anonymously out of ...
Benjamín Schultz-Figueroa
In this essay, Benjamin Schultz-Figueroa presents an analysis of two recent “multispecies documentaries”: Cow (Andrea Arnold, 2021) and Gunda (Viktor Kossakovsky, 2021). He suggests that both films prompt viewers to think expansively about the ...
Caetlin Benson-Allott
FQ columnist Caetlin Benson-Allott examines the role of cinematographer Hélène Louvert’s in crafting narratives that protect the cinematic subject’s right to privacy in two recent films by female directors: Never Rarely Sometimes Always (Eliza ...

About the Journal

Film Quarterly has published substantial, peer-reviewed writing on cinema and media for nearly sixty years, earning a reputation as one of the most authoritative academic film journals in the United States, as well as an important English-language voice of cinema studies abroad.

ISSN: 0015-1386        eISSN: 1533-8630

Published Quarterly – March, June, September, December

Editor: B. Ruby Rich, University of California, Santa Cruz (emerita)


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Film Quarterly Webinar: The New Brazilian Cinema

Film Quarterly’s Winter 2020/2021 issue introduces a new generation of Brazilian filmmakers and scholars who have changed the landscape of Brazilian cinema over the past decade. Challenging the traditional Rio/São Paulo production axis, these voices from the periphery—Black and provincial and Indigenous, female, male, and trans—show the possibilities for a more inclusive Brazilian cinema. Co-editors João Luiz Vieira and FQ’s B. Ruby Rich moderate a discussion with dossier contributors Fábio Andrade, Natalia Brizuela, Marcelo Ikeda, Tatiana Monassa, and Janaína Oliveira.

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