As virtual reality develops into a viable technology for immersive storytelling, today’s filmmakers are witnessing the birth of a new, perhaps more inclusive, form of cinema. Reporting on VR from this year’s Tribeca Film Festival, Rebecca M. Alvin, explores how the doors are open for a much more diverse group of creators and a wider range of stories to tell.
In this second installment of The Global Screen, Thomas Britt writes about the work of Jonas Cuarón. In some ways, Cuarón’s Desierto (2015) can be seen as a timely political film, involving border disputes, contested spaces, and dispossession. The film’s heroes and villain feel alienated from their right relationship to the land. In this article, Britt considers the influence of action and horror genres on the film, specifically the ways in which 1970s genre films and Australian “Outback horror” provide a comparable narrative framework that Cuarón deftly updates in his film about violence and lines in the sand.
Mike Sullivan describes the years-long process filmmakers Jessica Barnthouse and Stacy Buchanan undertook in making their first feature documentary, Something Wicked This Way Comes. The film featured at this year’s Boston Underground Film Festival. A revised version of the doc, titled The Man in the Mask, will be showing at festivals later this year.
In this first installment of The Global Screen essay series, Isaac Rooks writes about Shin Jeong-won’s gruesome farce, Chaw, which Rooks suggests offers more than the spectacle of a giant boar slaughtering drunken revelers at a karaoke celebration. In this essay, Rooks explores how Shin’s film utilizes practical and conceptual resources from around the world to address global audiences about common concerns.
Lilla Puskás writes on three movies featured at the 2018 Berlin International Film Festival’s Panorama section: Marilyn, Obscuro Barroco, and Tranny Fag (Bixa Travesty). In the essay, Lilla compares transgender representation through the protagonists of these related narratives. Lilla shares her reflections of how these films tackle the complexity, diversity, and fluidity of transgender identity.
The Independent announces The Global Screen, a series of bi-monthly essays written by film scholars and academics interested in engaging with our readership of filmmakers, directors, artists, and activists. The series is edited by Dr. Jayson Baker, Assistant Professor in Communications at Curry College. In this introduction, Dr. Baker provides a summary of the series and a context for its purpose at this time. Essays in The Global Screen will be published over the course of the year, beginning at the end of March.
Werner Herzog’s 2016 documentary Into the Inferno recently screened to a packed crowd at The Coolidge Corner Theater in Brookline, Massachusetts. Herzog was there to accept the 2018 Coolidge Award and to participate in a Q&A. Mike Sullivan shares this appreciation of the filmmaker and highlights from the event.
This fall, the Coolidge Corner Theater in Brookline, Massachusetts ran a retrospective of Adrienne Barbeau’s major cult films. Mike Sullivan attended the final event—a screening of The Fog and presentation of the Coolidge Corner Theater’s “After Midnite Award” to Barbeau. Sullivan spoke briefly with Barbeau just before the screening and also attended the robust Q&A.
The continued rise of streaming platforms has had reverberating effects in online film communities. Every company, regardless of size and scope, must complete to find, maintain, and build online audiences. Courtney Sheehan shares news of new streaming services after speaking with industry reps at this year’s Toronto International Film Festival.
Courtney Sheehan reports on digital media pioneer Katerina Cizek, who has brought a new documentary project to the Toronto International Film Festival. Cizek is leading the co-creation of the MIT Open Documentary Lab, a research center for emerging new media technologies. Sheehan discusses Cizek’s newest film project and the exciting innovations in documentary filmmaking that are being explored.