From American Film (September 1979). –- J.R.
Academic film conferences in the United States seem to be growing more plentiful every year. But there’s only one that can properly be called a theory conference, where theorists congregate, report on works in progress, and generally talk shop. It takes place in Milwaukee, at the University of Wisconsin’s Center for Twentieth Century Studies, usually when there’s still snow on the ground. A few avant-garde filmmakers also traditionally turn up to show their latest wares and join in the discussions.
For academics, the conference functions as a combined brainstorming session, trade fair, and social gathering. For an interested outside observer, it can offer still another way of keeping up — by serving as a kind of barometer of intellectual currents in both films and film studies.
Last year the topic was “The Cinematic’ Apparatus: Technology as Historical and Ideological Form,” and the main attraction was papers by and discussions with many of the reputed superstars of film theory, ranging from Jean-Louis Comolli and Christian Metz [see below] to Stephen Heath and Laura Mulvey. This year the title was “Cinema and Language,” and although there was a lot of both to be squeezed into four days, it was the movies shown that left the strongest impression.… Read more »
This book review, which I’ve alluded to previously on this site, appeared in the November 2, 1980 issue of The Soho News. —J.R.
Under the Sign of Sontag
Under the Sign of Saturn
By Susan Sontag
Farrar, Straus & Giroux, $10.95
If, dialectically speaking, every book can be said to have an unconscious — a repressed subtext — one can find glimpses of the unconscious of this one in the misleading flap copy that quotes from an interview (“Women, the Arts, and the Politics of Culture,” Salmagundi 31-32) and mentions the inclusion of a “famous exchange on fascism and feminism” (apparently with Adrienne Rich, in the March 20, 1975 New York Review of Books), both regrettably missing from this slim volume of seven essays.
These omissions betray the absence of a gritty, indecorous social context — a sense of Sontag existing in the world, not merely staging grand Platonic shadow-plays in the theater of her mind. Much as Illness as Metaphor (1978) was partially structured around her refusal to allude once to her own personal struggle, this book discreetly, indirectly dances around the notion that the subject of every essay proposes a different kind of mirror to the author, a speculative self-portrait.… Read more »
From the Chicago Reader (January 15, 1993). — J.R.
Blues buffs have some genuine cause for rejoicing: Robert Mugge’s 1991 documentary about blues performers in the Mississippi Delta, made for England’s Channel Four, contains some of the best blues I’ve ever heard or seen on film. Using blues critic and historian Robert Palmer — accompanied by Dave Stewart (of the Eurythmics) — as tour guide, the film proceeds from a sadly gentrified Beale Street in Memphis to funky Mississippi outposts like Holly Springs, Greenville, Clarksdale, and Betonia, where we’re treated to brief interviews with and extended live performances by Booker T. Laury, R.L. Burnside, Jessie Mae Hemphill, Junior Kimbrough, Roosevelt “Booba” Barnes and the Playboys, “Big” Jack Johnson, Jack Owens, Bud Spires, and Lonnie Pitchford. Palmer wears his erudition lightly, but he’s very good on the African origins of such things as the word “juke” and the homemade blues instrument called the diddly bow. This isn’t anything special as cinema, but if you’re into blues it’s a bonanza. (Music Box, Friday through Thursday, January 15 through 21)
… Read more »