Film Matters Magazine

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

Aatika Fareed: Minhal Baig’s Hala is a coming-of-age film revolving around the life of the protagonist Hala who is grappling with a lot of emotions and events in the quest of re-discovering herself. My article critically analyzes this notion of re-discovering in association with the her “unveiling the veil” as a means of glorifying the white male gaze and hegemony. Aside this, it also deconstructs various stereotypical elements associated with Islam as a means of understanding the origin of Muslim hijabi women being oppressed and how it further perpetuates a homogenous identity against a rising Islamophobic environment.

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

Abhiraj Goswami + Oishika Basak: The article that is being published is called “Chicken Soup for the Postmodern Soul: Philosophizing Spike Jonze’s Her Through the Lens of Evolving Modernity” and it is a philosophical treatise on Her, a film that both my co-author and I have been absolutely mesmerized by. In our article, we try to demystify the fiction that the film is and underscore the political reality, which allows for the existence of such art, either as commentary or as a severe revolt. We try doing this in three parts, which involve an understanding of capitalism, its alienating effects, and the production work involved in vividly producing the related imagery. All in all, our piece aims to decipher Her for what it really is: a warning of the bleak times that are coming, packaged in the form of a traditional romantic saga.

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

Giulia Tronconi: Originally, I wrote the essay as coursework for an undergraduate module named Film Aesthetics: in fact, the article deals with issues of aesthetic evaluation and moral judgments. I am extremely interested in questions concerning whether art should be considered a cultural product, defined and informed by the social codes we live by, or whether we should approach it in a more “sensual,” primal, way.

Holland Elana: How did your initial analysis of Eleanor’s filmography in 1974 and your subsequent friendship with her in 1975 intersect and influence each other? Could you describe how the personal connection you developed through your friendship contributed to your decision to transition from analyzing her work to undertaking a comprehensive biography of her life?

Lisa Royère: When we “discovered” Eleanor Powell in 1974 through That’s Entertainment, there were very few of her films available to the public. After we had met Eleanor and we slowly got to see more of her films, we had the idea of compiling a “films of” book. These types of books, with a relatively short overview of her life and career and big on images, were popular at the time, and about as far as our skill set at the ages of eighteen and nineteen would allow. The maturity acquired in the years between our initial project and the present gave us an understanding of certain events in her life that we couldn’t have fully grasped back then. We saw a bigger picture. An in-depth biography now seemed not only doable, but essential to honor her legacy.

Paula Broussard: As Lisa stated, our initial idea was a very modest one that entailed a book of still photos from her films and a light treatment of each film. But, bit by bit, Eleanor did share some special tidbits in her further conversations with Lisa that acknowledged an acceptance that someday something larger in scope might be written. Truly, the entire idea never fully resurfaced until August 2020. While unpacking, I found the old packet of research, called Lisa, and after an hour or two of conversation, the decision was made to revive the project as a full biography.

Holland Elana: What was the nature of the initial conversation that sparked the idea to embark on writing a book about The Godfather? Could you provide insights into the early discussions that laid the foundation for this project?

Joshua Heter + Richard Greene: We have both published a number of books on popular culture and philosophy. All told, there are dozens of these volumes (which have been published since around the year 2000), and we’ve been fortunate to work on a number of them in various capacities. Sometime about a year and a half ago, we began to wonder if there were any “big” pieces of intellectual property (i.e., television shows or movie franchises) that were overlooked; that never got the philosophy and pop culture treatment. And, as it turns out, inarguably, one of the most important pieces of popular storytelling in the twentieth century had been overlooked: The Godfather. With the anniversary of the first two films coming up, and with the release of The Offer (which recounts the making of The Godfather) on Paramount+, it seemed like now was a great time to correct that oversight. Thankfully, the good folks at Carus Books agreed, and we got to work.

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

Sophie Barbour: My article looks at a character named Dounia from the film Divines and attempts to further other academic discussions of her gender identity—or rather, her gender performance. It is immediately obvious upon watching the film that it is interested in gender. It follows a female protagonist, her female best friend, and the female drug dealer against the backdrop of a violent male culture within the banlieue. Additionally, Dounia is North African and lives outside of the banlieue itself in a Roma camp. Her identity is, for lack of a better word, unrooted. There is no female-dominated space for her. She doesn’t live with other North Africans within the banlieue, and, of course, she lives in the periphery of the larger Parisian society and economy. With that in mind, she makes a space for herself as a drug dealer by performing certain traits that are attributed to men in order to partake in the banlieue economy. However, she also performs a type of hyper-femininity when it is required of her. These gendered performances then lead us to question her identity more largely. Where do the performances stop and Dounia start? I found that, really, there is no distinction. The performance of identity is the identity itself, and thus Dounia’s particular skill in acting becomes a powerful tool in being able to morph herself to the needs of the different roles she fulfills.

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

Drew Meinecke: My article is about the Paradise Theater in Detroit, which existed between 1941 and 1951. It was opened initially as a mixed, or integrated, theater, which opted to use Black acts and performers to attract a multiracial audience. I point out the significance of this all-Black stage show, in which famous Black bandleaders such as Duke Ellington and Louis Armstrong headlined, to argue that the Black moviegoing experience was not inherently inferior to the white moviegoing experience, as Black Detroiters saw quality performances at the Paradise Theater. That being said, I also make sure to include the fact that Black Detroiters faced discrimination, segregation, violence, and poverty, to ensure that the audience has no doubt that systemic racism permeated throughout the north during this period. My article also touches on the Paradise Theater’s transition from its distinction as a mixed theater to its distinction as a Black theater, a theater that is designated as a primarily Black space. Additionally, my article explores the close relationship between the Paradise Theater, and the nearby Black neighborhood of Paradise Valley. Specifically, I examine the efforts of the Paradise Theater which uplifted this local Black community, and I discuss how residents of this community reacted to these efforts. I also touch on the Paradise’s broader philanthropy which extended across the nation, with the intention of demonstrating that the Paradise did not fit the stereotype of exploitative Black movie theaters. In all, the goal of my article is to help shed light on an important, and often overlooked, part of Detroit’s history.