Film Matters Magazine

Station MVP explores the behind-the-scenes world of a public radio station and the characters who work there. The protagonist Jamie is in over her head—she must navigate a demanding new job, her zany colleagues, and ongoing threats from her estranged husband.  She’s a no-nonsense woman who battles the highs and lows of dealing with a position of power while trying to forget the time when she had hers taken away. Despite it all, she still has her sense of humor, and the fictional Maggie Valley Public Radio—WMVP—is lucky to have her!

Film Matters: Please tell us about your article that is being published in Film Matters.

A. G. Lawler: “‘Films for Humanity:’ De-victimization of the Female in At Five in the Afternoon and The Milk of Sorrow” addresses the need for a new type of representation of women within film. The conventional filmic narrative all too often reduces women to helpless or powerless victims. Such traditional depictions are problematic and do not provide accurate or truthful portrayals of how women understand and adapt to the circumstances around them. In my article, I argue that Samira Makhmalbaf’s At Five in the Afternoon (Panj é asr, 2003) and Claudia Llosa’s The Milk of Sorrow (La teta asustada, 2009) redefine the concept of victimization on-screen and thus provide the world with a new, respectful way of representing not only women, but underrepresented groups and voices as well.

Film Matters: Please tell us about your article that is being published in Film Matters.

Johanna Carter: “Translating a Monster: Motherhood and Horror Criteria in Ringu and The Ring” analyzes the shifting tonalities inherent in the cross-cultural process of monster adaptations. Since The Ring marks the boom of Asian-horror remakes in the US, my paper compares this influential remake with its original to better illustrate the difficulty of cultural translation and, more specifically, what is lost in this process. By default, the vengeful spirit of the onryō can’t convey the same message in a society with divergent gender politics. In my article, I detail how the cross-cultural changes inflicted on the “long-haired ghost girl” and the film’s female protagonist affect how each society views otherness, motherhood, and the criteria for an effective horror movie.  

Sophia Fuller: Tell us a little about yourself; how did you get started in filmmaking?

M. W. Daniels: I got into filmmaking in 2011. I was a musician before that and a composer. Someone wanted to make a video for one of my tracks that I was doing at the time. I did that and it kind of spin-boarded from there. I was acting in films as well, even though I don’t particularly like acting myself. I just learned how to write scripts through the years. I worked with a guy for about three years and then a friend introduced me to Nicolai Kornum, who I have been working with ever since. He is a director of photography, sound editor, and really a teacher. He was a great teacher for me, like a guru, I suppose. It’s been almost ten years, we have been working together. This all came up in 2018. I got professional sound on the films finally–before they were just the camera, so you’ve got the annoying clicks all the time when you watch the films back. And then that steps it up. He [Nicolai] really taught me how to write the scripts properly, and then I taught myself how to direct properly. It’s been a long journey, but I have learned a lot through those years. It’s a long time. Nicolai is amazing. Without him I think I would have given it up by now, to be honest.

Film Matters: Please tell us about your article that is being published in Film Matters.

Ruby Ellen Hubbard: Verification of who we are and where we come from in films can be useful. However, for people who cope daily with mental illness such as psychosis, this visibility is often less than ideal and can be damaging both on an individual and societal level. My article explores how representation of psychosis may perpetuate stereotypes that negatively affect society’s attitude toward mental health.

Film Matters: Please tell us about your article that is being published in Film Matters.

Gabrielle Lamb: “Camp Cinema and the Queer Experience” talks about just that: the art form of camp and how it relates to the queer community. I think it’s more important than ever, as the social media age brings a wash of aestheticism, to chronicle the origins of different arts/styles and pay homage to the creators. This is particularly significant in the case of marginalized creators.

Sophia Fuller: Tell us a little about yourself; what got you into writing?

Stephen Lee Naish: I studied film and media way back in the late 1990s and early 2000s in the city of Leicester, UK, where I grew up. My ambition was to become a filmmaker or film editor. For a few years, I would film local bands and musicians, and also bands that passed through town. I would make music videos, live performance videos, art projections, and music documentaries. At the same time I was also writing short stories, and screenplays for potential narrative films that I wanted to make down the line. I remember in my late twenties sitting in some musty music venue at 11pm waiting for a band I was meant to film to come on stage  and thinking “I’m getting too old for this.” I put down the cameras, enrolled back in school to study politics, creative writing, and nonfiction writing and bridged my interests in film, and my knowledge of production, with my interests in politics and pop culture.

Film Matters: Please tell us about your article that is being published in Film Matters.

Tillie Quattrone: My article investigates overlapping manifestations of power and masculinity in one of the pioneering Blaxploitation films, Sweet Sweetback’s Baadasssss Song (Melvin Van Peebles, 1971).