FQ Columnist Amelie Hastie mixes autobiography and film analysis in her column on Creed (Ryan Coogler, 2015), reflecting on the physical acrobatics of the sport of boxing and the grand narrative gestures of the film. She also addresses her treatment for a brain tumor, which has compressed her left optic nerve. The tumor is constantly visible in her own line of sight, and everpresent with her at the movies. Boxing, like dancing and trains, is one of cinema's early objects of entrancement: in both cases, the audience is compelled to watch things move, whether giant industrial vehicles or bodies in all their parts.
The Vulnerable Spectator: Ryan Coogler's Creed: Showing the Love
Amelie Hastie has recently contributed essays on teaching film and television to Cine-Files and Flow. The author of two books on women and film history, Cupboards of Curiosity: Women, Recollection and Film History and The Bigamist, she is now completing a volume on the 1970s television series Columbo (forthcoming from Duke University Press). She is Professor and current Chair of Film and Media Studies at Amherst College.
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Amelie Hastie; The Vulnerable Spectator: Ryan Coogler's Creed: Showing the Love. Film Quarterly 1 June 2016; 69 (4): 72–77. doi: https://doi.org/10.1525/fq.2016.69.4.72
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