For those who proclaim that people are solely responsible for their life's choices, Bing Liu's, Minding the Gap shows what costs come with attempting to break cycles of violence, poverty, and addiction.
Scorsese's selections for World Cinema Project No. 3 recall an attitude typical of a bygone age of film studies when professors would rationalize overlooking the reactionary politics of a film because aspects of the filmmaking itself trumped such "trivial" concerns.
Facet's Disruptive Film: Everyday Resistance to Power, Volume Two documents the multiple approaches a variety of filmmakers take in wielding video and celluloid for social change.
The early Ida Lupino films hold a particular nuance for female characters and the textures of their everyday lives, which has rarely been exhibited in classical Hollywood filmmaking.
Filmmaking was only one element of a much wider feminist movement that was manifesting itself in various forms, from the flapper to the suffragette to the birth control advocate to the bohemian female writer and political activist.
Eric Tretbar's First Person Plural and PBS' shorts Muslim Youth Voices both offer new representations of Somali-Americans. A significant contribution, given the Islamophobic frameworks that structure most cinema, television, and popular culture in general.
Kino Lorber's release of Personal Problems can be seen as a major intervention in recovering "lost" videotapes, representing an important black collective creative contribution of US grassroots videomaking.
Samuel Fuller's Forty Guns serves as a remarkable film that fuses the Western with film noir and provides ample space, at least during its first half, for Barbara Stanwyck to provide a commanding performance that hints at what a Western female heroine might look like.
The general absence of the L.A. Rebellion from most film history text books and Burnett's relative marginalization within film and media studies speaks to the socio-economic myopia and privileges that define both areas of study.
Kubrick’s Barry Lyndon suggests that all violence is nothing more than a subterfuge for masculine insecurities and romantic adolescent notions.