UC Press Blog

Winner of two Golden Globes, "The Secret Agent" has been nominated for four Academy Awards. The film's critical success underscores the special moment Brazilian cinema is currently enjoying.

A Q&A with "Film Quarterly" contributor Anthony Michael D’Agostino

For me, Anderson is a filmmaker who read a book about state terror and counterfascist mobilization and metabolized Pynchon’s "Vineland" into the unlikeliest of things: a movie, a mass-cultural product that wants to think clearly and hard about the here-and-now-ness of an American fascism.

Film Quarterly's editor considers the legacy of film critic Pauline Kael.

Darshana Sreedhar Mini, author of "Rated A," speaks about labor in soft porn in India and the unflattering treatment of actors.

Yiman Wang, author of "To Be an Actress," talks about the enduring legacy of actress Anna May Wong

Hattie Noel was a trailblazer of the stand-up comedy form. While the visual archive shows her constrained in the controlling images of Disney’s hippo and Hollywood’s maid, her comedy albums tell a different story of Black representation.

“What do we, as feminists, need right now—from cinema, from archives, from our communities? How can filmmaking, film festivals, and social movements of the past inspire or befuddle us today? And what is at stake in selecting and presenting archival works by women to create new forms of community?”

In celebration of Women's History Month, we've removed the paywall from the guest editors’ introductions from the past nine Spring issues of Feminist Media Histories (FMH). As we anticipate the journal's tenth anniversary issue (forthcoming in April 2024), we invite you to read this selection of con

From the inception of cinema to today’s franchise era, remaking has always been a motor of ongoing film production. Hollywood Remaking challenges the categorical dismissal in film criticism of remakes, sequels, and franchises by probing what these formats really do when they revisit familiar stories