As Disney removes the “Fox” from “20th Century Fox,” it’s time to revisit Upton Sinclair’s tendentious 1933 book about the man who gave the studio its name, William Fox.
The film presents an outward view of the inner life of a young black woman—of a person who, by the fact of those three descriptors, is subjected to relations of power and control.
In “The Eloquent Screen,” Perez brings together films reflecting a wide range of traditions, time periods, techniques, and experiences, in order to unite them with probing analyses of their distinctively cinematic rhetoric.
If the Academy were to limit voting to members presently or very recently working, it would appear not merely symbolically representative of the industry but literally so.
With this year’s ample recognition of films such as “1917” and “Joker,” the Academy has largely turned its back on the future of the art and on the confrontational power of the best filmmakers.
The awakening of Jo March’s literary vocation is pulled taut by two conflicting desires: making a good living from one’s art, and relying on that art as a mode of personal expression.