Skip to main content

  • HOME
  • CURRENT CONTENT
  • ALL CONTENT
  • SUBMIT
  • ABOUT
    • Journal
    • Editorial
  • INFO FOR
    • Librarians
    • Authors
    • Reprints and Permissions
    • Advertisers
    • Subscriptions and Single Issues
  • MORE
    • Alerts
    • Contact Us

  • Login

  • Advanced search

  • Login
Advanced Search
  • HOME
  • CURRENT CONTENT
  • ALL CONTENT
  • SUBMIT
  • ABOUT
    • Journal
    • Editorial
  • INFO FOR
    • Librarians
    • Authors
    • Reprints and Permissions
    • Advertisers
    • Subscriptions and Single Issues
  • MORE
    • Alerts
    • Contact Us
Film Quarterly

Table of Contents

Vol. 70 No. 3, Spring 2017

  • FROM THE EDITOR

    • You have accessRestricted access
      When History Makes the Cut
      B. Ruby Rich
      (pp. 5-9) DOI: 10.1525/fq.2017.70.3.5
  • FEATURES

    • You have accessRestricted access
      Scenes of Hurt and Rapture: Céline Sciamma's Girlhood
      Emma Wilson
      (pp. 10-22) DOI: 10.1525/fq.2017.70.3.10
    • You have accessRestricted access
      Bodies That Matter: Black Girlhood in The Fits
      Patricia White
      (pp. 23-31) DOI: 10.1525/fq.2017.70.3.23
    • You have accessRestricted access
      Girl Power: Back to the Future of Feminist Science Fiction with Into the Forest and Arrival
      Sophie Mayer
      (pp. 32-42) DOI: 10.1525/fq.2017.70.3.32
  • INTERVIEWS

    • You have accessRestricted access
      Toni Erdmann, Faux Pa: Interview with Maren Ade
      Megan Ratner
      (pp. 43-51) DOI: 10.1525/fq.2017.70.3.43
    • You have accessRestricted access
      One Step Ahead: A Conversation with Barry Jenkins
      Michael Boyce Gillespie
      (pp. 52-62) DOI: 10.1525/fq.2017.70.3.52
  • COLUMNS

    • You have accessRestricted access
      ElsewhereThe Cultural Consolation of Ava DuVernay's Queen Sugar
      Bilal Qureshi
      (pp. 63-68) DOI: 10.1525/fq.2017.70.3.63
    • You have accessRestricted access
      ScreeningsLetter from Mexico City: The Life and Death of Juan Gabriel
      Paul Julian Smith
      (pp. 69-73) DOI: 10.1525/fq.2017.70.3.69
    • You have accessRestricted access
      The Vulnerable SpectatorPassing Time with Certain Women
      Amelie Hastie
      (pp. 74-79) DOI: 10.1525/fq.2017.70.3.74
  • FESTIVAL REPORTS

    • You have accessRestricted access
      Cuban Documentary Retrospective at DocLisboa 2016
      Patricia Aufderheide
      (pp. 80-83) DOI: 10.1525/fq.2017.70.3.80
  • PAGE VIEWS

    • You have accessRestricted access
      Of World Wars and Cold Wars and Hollywood Classics: Noah Isenberg on We'll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood's Most Beloved Movie and Glenn Frankel on High Noon: The Hollywood Blacklist and the Making of an American Classic
      Regina Longo
      (pp. 84-91) DOI: 10.1525/fq.2017.70.3.84
  • BOOK REVIEWS

    • You have accessRestricted access
      Review: Steven Spielberg: A Life in Films by Molly Haskell
      Carrie Rickey
      (pp. 92-95) DOI: 10.1525/fq.2017.70.3.92
    • You have accessRestricted access
      Review: New Maricón Cinema: Outing Latin American Film by Vinodh Venkatesh
      Manuel Betancourt
      (pp. 95-96) DOI: 10.1525/fq.2017.70.3.95
    • You have accessRestricted access
      Review: Fade to Gray: Aging in American Cinema, by Timothy Shary and Nancy McVittie
      Sara Bakerman
      (pp. 96-98) DOI: 10.1525/fq.2017.70.3.96
    • You have accessRestricted access
      Review: Cinema without Reflection: Jacques Derrida's Echopoiesis and Narcissism Adrift by Akira Mizuta Lippit
      Swagato Chakravorty
      (pp. 98-99) DOI: 10.1525/fq.2017.70.3.98
    • You have accessRestricted access
      Review: Hellboy's World: Comics and Monsters on the Margins by Scott Bukatman
      Paul Young
      (pp. 99-101) DOI: 10.1525/fq.2017.70.3.99
    • You have accessRestricted access
      Review: Never Done: A History of Women's Work in Media Production by Erin Hill
      Maxfield Fulton
      (pp. 101-103) DOI: 10.1525/fq.2017.70.3.101
    • You have accessRestricted access
      Review: In Secrecy's Shadow: The OSS and CIA in Hollywood Cinema, 1941–1979 by Simon Willmetts
      Rebecca Prime
      (pp. 103-104) DOI: 10.1525/fq.2017.70.3.103
Back to top

PreviousNext

In this issue

Film Quarterly: 70 (3)
  • Table of Contents
  • Table of Contents (PDF)
  • Cover (PDF)
  • Index by author
  • Back Matter (PDF)
  • Front Matter (PDF)
eTOC Alert

RSSRSS Icon

Jump to

  • FROM THE EDITOR
  • FEATURES
  • INTERVIEWS
  • COLUMNS
  • FESTIVAL REPORTS
  • PAGE VIEWS
  • BOOK REVIEWS
  • Tweet Widget
  • Facebook Like
  • Google Plus One
  • Most Read
Loading
  • The Last Shall Be First: Aesthetics and Politics in Black Film and Media
  • One Step Ahead: A Conversation with Barry Jenkins
  • Vestiges of Motherhood: The Maternal Function in Recent Black Cinema
  • On Platforms
  • In the Time of Plastic Representation
More...

FIND US Facebook Account LinkRSS Feeds LinkTwitter Account LinkLinkedin Account LinkYoutube Account LinkEmail Link

Customer Service

  • Reprints and Permissions
  • Contact

UC Press

  • About UC Press

Navigate

  • Home
  • About
  • Submit
  • Editorial
  • Contact

Content

  • Current Issue
  • All Content

Info For

  • Librarians
  • Authors
  • Advertisers
  • Subscriptions and Single Issues

Copyright © 2018 by the Regents of the University of California  Privacy   Accessibility