B Ruby Rich
Biographic Data
| ID | 324742 |
|---|---|
| NAME | B Ruby Rich |
| GIVEN NAMES | B Ruby |
| FAMILY NAME | Rich |
| SIGNATURE | RICH B R |
| AFFILIATIONS | Art Institute of Chicago |
| VERIFIED | No |
| TOTAL WORKS | 49 |
| TOTAL CITATIONS | 39 |
| AUTHOR COUNT | 47 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1978 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 4 |
Breaking Boundaries
FQ editor-at-large B. Ruby Rich reports from the 77th edition of the Cannes Film Festival. Skipping the “grand old men” (Francis Ford Coppola’s Megalopolis, David Cronenberg’s Shrouds, and Paul Schrader’s Oh, Canada) competing in the main competition, Rich concentrated instead on the festival’s other sections and its renegade outlier, the Quinzaine (Directors’ Fortnight). Rich describes her festival highlights, including Jacques Audiard’s faux-Me…
Inflection Points
FQ Editor-at-large B. Ruby Rich starts off a year of festival-going with reports from Sundance and Berlin. At Sundance, documentary highlights included Soundtrack to a Coup d’Etat (Johan Grimonprez), about the machinations of world powers, and the United States in particular, in overthrowing the government of the Congo in 1961; and Yance Ford’s Power, a chilling examination of the US police force’s evolution and tainted presence. In Berlin, Rich …
Interview
At the 2023 Telluride Film Festival, Film Quarterly editor-at-large B. Ruby Rich sat down with the noted philosopher Paul B. Preciado to discuss his path towards making his film debut with Orlando: My Political Biography (2023), a film that Rich considers the “first trans masterpiece.”
Film Festivals in Winter
Film Quarterly Editor-in-Chief B. Ruby Rich reports on highlights from the 2023 Sundance, Rotterdam, and Berlin film festivals
Revisiting the Decade
This marks my fortieth and final editorial as I step down from my post as editor in chief of this wonderful journal. Ten years ago, I accepted the helm of Film Quarterly with the intention of transforming it into a journal that I wanted to read, a journal that could offer the field of film and media studies an “alternative commons” instead of the usually siloed areas of identities, nationalities, sexualities, racializations, studies, and speciali…
Telluride Turns Fifty in Style, New York Hits Sixty-One
The Telluride Film Festival opened its fiftieth-anniversary celebration with a noncinematic spectacle: a blue sturgeon moon rising big and bright, cresting over the tree line just as my gondola rose over the mountain ridge. Gondolas (aka ski lifts) are the transportation system that moves folks between Telluride’s main drag and one of its prime theaters (and up to bike trails and ski runs too). That night, on the eve of the festivities, my fellow…
Cannes 2023
Film Quarterly editor and veteran critic B. Ruby Rich reports from the 2023 edition of the Cannes Film Festival. She notes that the gap between outside perception and insider experience of the Festival was profound, as bad weather and ticketing woes meant that the advice most often shared was the bromide “If you’re not feeling humiliated, you’re not at Cannes.” Nonetheless, Rich reports on a satisfying array of films, both from known auteurs incl…
Inflection Points
As I have often noted here, the US film, television, and streamer industries have failed—now for the sixth year in a row—to deliver any works addressing the toxic political climate or disastrous economics of the United States in the post-2016 era. In early 2023, film festivals survived and prospered, streaming services continued to pour huge amounts of cash into production and promotion (especially Oscar promotion!), yet movie theaters continued …
Cinema’s Cosmic Shifts
Last winter, Oscar campaigns may well have rolled through a city near you: visiting stars, catered snacks, diligent handlers, lots of hopes and dreams. Occasionally, a film or actor so exceeds the transactional nature of these events that mundanity is set aside for a moment and the event becomes special beyond its PR function. So it was when Michelle Yeoh appeared at a Paris screening of Everything Everywhere All at Once (Daniel Kwan and Daniel S…
Shakespeare, Casablanca , and Screen Responsibility
It is impossible to write about the state of the Image Industry in 2022—film, television, or streamers—without reference to the signal event of summer: the hearings conducted by the House committee investigating the January 6 attack, watched more broadly than anyone ever expected. The select committee, which convened those hearings and presented the evidence through in-person testimony with expertly edited digital audio and video materials, deliv…
Changing Times
Though this editorial was written at a time of setting clocks back an hour, that is not the kind of change referenced in the title here. Rather, it has to do with changes in the world—of film, politics, nationalism, warfare, climate threats; written when the massive conscription of Russian men began in earnest, when Ukraine doubled down on defense/offense, when Putin threatened nuclear bombing, when Italy elected a fascist leader, when Bolsonaro …
Cannes at Seventy-Five
Film Quarterly’s editor-in-chief B. Ruby Rich offers her take on the 75th edition of the Cannes Film Festival. After two years of pandemic-related disruption, the storied festival was in a celebratory mood despite the proximity of the war in Ukraine, which lent a sense of significance to proceedings that resonated with its anti-fascist origins. The official competition, however, emphasized traditional (male) auteurs over selections that broke new…
Conscience and Controversy
Not since the Soviet invasion of Czechoslovakia in 1968 that ended its Prague Spring, and the Chilean coup of 1973 that ended the presidency of Salvador Allende, has the film world been as galvanized by one country’s struggle as it has been in 2022 by Ukraine’s—though, of course, countless other global conflicts, atrocities, and deaths (Brazil, Yemen, Syria, Gaza) have also deserved such attention.Members of the Russian filmmakers’ union Kino Soy…
Telluride Film Festival
B. Ruby Rich reviews the 49th edition of the Telluride Film Festival. In addition to buttoned-down celebrities and gorgeous scenery, the festival is known for its commitment to Eastern European and former Soviet Union cinemas, as well as the cinema of Latin America—both a legacy of Tom Luddy, the festival’s cofounder whose vision remains an integral part of the festival. The festival’s programming reflected these lasting strengths, along with an …
Sundance 2022
Film Quarterly editor-in-chief B. Ruby Rich offers her reflections on attending her second virtual Sundance Film Festival. Rich’s disappointment at the festival’s last-minute decision to shift to a virtual format soon gave way to the familiar aura of film festival excitement: the thrill of just-hatched movies, some of which spoke to the present moment in pulse-racing fashion
An Introduction
Dedicated to the life and memory of Samantha Louise Ginsburg Myers (February 8, 1989–September 25, 2022)This dossier has been inspired by an unprecedented and exciting surge in New Disability Media, a movement in which disabled filmmakers are at the forefront of the repositioning of figurations of disability, acting as both creators and subjects while deploying new aesthetic strategies. The following essays take up films, videos, online media, an…
Don’t Look Down
Say the words out loud: alpha—delta—omicron. Add whatever variant(s) have emerged since this article's deadline. Greek-alphabet letters, recited like a chant, singsong, may sound like a nursery rhyme. "Ring around the Rosie," perhaps: the song about the London plague of 1665, or 1347, or perhaps earlier or later, or somewhere else, its words recorded, they say, in 1881.All fall down indeed. In the world of cinema in early 2022, it was the film fe…
Wintering Over
The fall equinox (the time of this writing) seemed to mark the world in its terms: literally and metaphorically light and dark, day and night, good and evil, floods and droughts, a global order torn between the forces of positive and negative energies. Amid the mix of apprehension and celebration, the 2021–22 equinox ushered in reopenings of cities, including movie theatres and film festivals. Pandemic deaths became less frequent in some privileg…
An Introduction
In late 2020, during the dark days of pandemic lockdown and a global universe plunged into a shared crisis devoid of unanimity, the subject of impending anniversaries arose. It was then, in a gesture of optimism for an unknown future, that the idea was hatched for an FQ dossier dedicated to the then-impending ten-year mark to commemorate the 2011 uprisings known as the Arab Spring. While most mentions in 2021 have focused on the politics and the …
Telluride and After
FQ editor-in-chief B. Ruby Rich reports from the 48th edition of the Telluride Film Festival. Unlike most of its peer festivals, Telluride opted not to hold a virtual edition in 2020, a decision entirely in keeping with its emphasis on the tactile and experiential aspects of cinema, and which made its return in 2021 all the more giddy for first-time attendees and long-term devotees alike. Rich reviews the many festival highlights, from Jane Campi…
Theater Reopenings and Vaccinated Viewings in Pandemic Year Two
It has been more than a year since this editorial space filled with speculations about streaming films and the closing of theaters. It was with distinct excitement, then, that I began to read the reopening announcements. The beloved Paris Theater in New York City, with its lease now held by Netflix and with programming selected by former Museum of the Moving Image curator David Schwartz, trumpeted an Al Pacino retrospective. The Film Forum, that …
Geoblocking Fall 2020
FQ editor-in-chief B. Ruby Rich presents her take on festival-going in the time of COVID. While noting the challenges posed by geoblocking and navigating festival schedules across multiple time zones, along with the absence of the excitement and comradeship that provide live festivals with their momentum, she observes that virtual festivals—liberated from geography—offer advantages in terms of access. Surveying the offerings at the Toronto Film F…
Sundance on Your Couch
FQ editor-in-chief B. Ruby Rich presents her take on the online/hybrid Sundance Film Festival 2021. She notes the various ways in which the festival attempted to transfer the in-person experience to the at-home screen, including post-screening Q&As, a virtual lounge, online panels and “conversations,” and a VR interface for the New Frontier offerings. She appreciated that the online architecture allowed for a sequencing of events that eliminated …
Stuttering Cinema, Stuttering Democracy, Stuttering Globalism
As the year 2021 crept along, it became increasingly schizophrenic. Emerging from pandemic lockdowns was euphoric—until news of the redubbed Delta variant began to dash hope and cause doubt or panic. Still, theaters announced their reopenings and cinephiles flocked, some nervously, some exuberantly. The Pacific Film Archive, profiled in this issue, set September 1 as its indoor reopening date. Cannes took place, as promised, with glazed looks of …
Streaming Hope, Streaming Despair, Still Streaming
It is a human habit, perhaps, to project the present into the future-a default mode that drives forward even when the road has crumbled. So it was with film in Year One of the pandemic, characterized by a state of denial shaded with panic. By the end of 2020, film festivals were adjusting their schedules according to an imaginary "after" as if the vaccine were set to materialize imminently, universally, and magically everywhere, to step out from …
Homosexuality, Homophobia, and Revolution: Notes toward an Understanding of the Cuban Lesbian and Gay Male Experience, Part I
The New Homosexual Film Festivals
Other| October 01 2006 The New Homosexual Film Festivals B. Ruby Rich B. Ruby Rich Search for other works by this author on: This Site Google GLQ (2006) 12 (4): 620–625. https://doi.org/10.1215/10642684-12-4-620 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation B. Ruby Rich; The New Homosexual Film Festivals. GLQ 1 October 2006; 12 (4): 620–625. doi: https://doi.org/10.1215/10642684-12-4-620 Downloa…
Feminism and Sexuality in the 1980s
Reflections on a Queer Screen
Other| November 01 1993 Reflections on a Queer Screen B Ruby Rich B Ruby Rich Search for other works by this author on: This Site Google GLQ (1993) 1 (1): 83–91. https://doi.org/10.1215/10642684-1-1-83 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation B Ruby Rich; Reflections on a Queer Screen. GLQ 1 November 1993; 1 (1): 83–91. doi: https://doi.org/10.1215/10642684-1-1-83 Download citation file: Zotero Reference Manager Ea…
Homosexuality, Homophobia, and Revolution: Notes toward an Understanding of the Cuban Lesbian and Gay Male Experience, Part II
Anti-Porn: Soft Issue, Hard World
The Confidence Game
This article considers the early history of women-directed media, examining its links to political action campaigns in the 1970s and exploring the aims of women's film festivals, production workshops, and Women Make Movies itself. Acknowledging a personal role in the WMM crisis of the early 1980s, the author goes on to explore the reasons for the continuing underrepresentation of women in the ranks of film directing. Moving beyond statistics and …
A survey of recent guides‐to‐materials in women's cinema
Bonnie Dawson. Women's Films in Print. San Francisco: Booklegger Press, 1975. 165 pp. $4.00. Sharon Smith. Women Who Make Movies. Hopkinson and Blake, 1975. 307 pp. $9.95 cloth and $5.95 paper. Rosemary Ribich Kowalski. Women and Film: A Bibliography. Metuchen, N.J.: Scarecrow Press, 1976. 278 pp. Anthony Slide. Early Women Directors. A. S. Barnes & Co., 1977. 119 pp. $9.95
Women and Film: A Discussion of Feminist Aesthetics
Michelle Citron, Julia Lesage, Judith Mayne, B. Ruby Rich, Anna Marie Taylor, Women and Film: A Discussion of Feminist Aesthetics, New German Critique, No. 13, Special Feminist Issue (Winter, 1978), pp. 82-107
Anti-Porn: Soft Issue, Hard World
Homosexuality, Homophobia, and Revolution: Notes toward an Understanding of the Cuban Lesbian and Gay Male Experience, Part I
Homosexuality, Homophobia, and Revolution: Notes toward an Understanding of the Cuban Lesbian and Gay Male Experience, Part II
Reply to Lancaster
Reply to Montaner
Feminism and Sexuality in the 1980s
Hacia una demanda feminista en el nuevo cine latinoamericano
Hacia una demanda feminista en el nuevo cine latinoamericano
Queer Looks: Perspectives on Lesbian and Gay Film and Video
Queer Looks is a collection of writing by video artists, filmmakers, and critics which explores the recent explosion of lesbian and gay independent media culture. A compelling compilation of artists' statements and critical theory, producer interviews and image-text works, this anthology demonstrates the vitality of queer artists under attack and fighting back. Each maker and writer deploys a surprising array of techniques and tactics, negotiatin…
Reflections on a Queer Screen
Other| November 01 1993 Reflections on a Queer Screen B Ruby Rich B Ruby Rich Search for other works by this author on: This Site Google GLQ (1993) 1 (1): 83–91. https://doi.org/10.1215/10642684-1-1-83 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation B Ruby Rich; Reflections on a Queer Screen. GLQ 1 November 1993; 1 (1): 83–91. doi: https://doi.org/10.1215/10642684-1-1-83 Download citation file: Zotero Reference Manager Ea…
‘The Crisis of Naming in Feminist Film Criticism’
The New Homosexual Film Festivals
Other| October 01 2006 The New Homosexual Film Festivals B. Ruby Rich B. Ruby Rich Search for other works by this author on: This Site Google GLQ (2006) 12 (4): 620–625. https://doi.org/10.1215/10642684-12-4-620 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation B. Ruby Rich; The New Homosexual Film Festivals. GLQ 1 October 2006; 12 (4): 620–625. doi: https://doi.org/10.1215/10642684-12-4-620 Downloa…
New Queer Cinema: The Director’s Cut
New Queer Cinema: The Director's Cut
The Confidence Game
This article considers the early history of women-directed media, examining its links to political action campaigns in the 1970s and exploring the aims of women's film festivals, production workshops, and Women Make Movies itself. Acknowledging a personal role in the WMM crisis of the early 1980s, the author goes on to explore the reasons for the continuing underrepresentation of women in the ranks of film directing. Moving beyond statistics and …
Ending the Decade: Frankfurt, Marrakech, and 30/30 Vision
Editorial| March 01 2020 Ending the Decade: Frankfurt, Marrakech, and 30/30 Vision B. Ruby Rich B. Ruby Rich Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2020) 73 (3): 5–11. https://doi.org/10.1525/fq.2020.73.3.5 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite …
Zoom Out
Editorial| December 08 2020 Zoom Out: The Melancholic Screens of 2020 B. Ruby Rich B. Ruby Rich Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2020) 74 (2): 7–11. https://doi.org/10.1525/fq.2020.74.2.7 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site C…
An Introduction
Research Article| March 01 2020 An Introduction Brian Hu, Brian Hu Brian Hu is assistant professor of Television, Film, and New Media at San Diego State University. He is the author of Worldly Desires: Cosmopolitanism and Cinema in Hong Kong and Taiwan (Edinburgh University Press, 2018) and has published in Screen, Velvet Light Trap, and other journals. He is the artistic director of the San Diego Asian Film Festival and the co-producer of the As…
The New Aesthetics of Discovery and Emergency in the New Brazilian Cinema
Research Article| December 08 2020 The New Aesthetics of Discovery and Emergency in the New Brazilian Cinema João Luiz Vieira, João Luiz Vieira João Luiz Vieira is professor of Film Studies at Universidade Federal Fluminense, Niterói, Rio de Janeiro. He received his PhD in Cinema Studies in 1984, under the supervision of Robert Stam. In 1995 he was a Fulbright Visiting Professor at the University of New Mexico and at the University of Iowa. Among…
Perfect Vision: Sundance 2020
FQ's B. Ruby Rich files her annual report from Sundance, where the most powerful new dramatic films were by and about women. She singles out Kitty Green's The Assistant (2019) and Eliza Hittman's Never Rarely Sometimes Always for their meticulous attention to the hardly matter-of-fact rituals of life for two very different young women, as well as for a style that might be tagged “microrealism.” She also discusses Janicza Bravo's Zola and Pablo La…
The Screening Life, Once Removed
Editorial| September 01 2020 The Screening Life, Once Removed B. Ruby Rich B. Ruby Rich Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2020) 74 (1): 5–10. https://doi.org/10.1525/fq.2020.74.1.5 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation B. Ruby Rich;…
Collision, Catastrophe, Celebration: The Relationship between Gay and Lesbian Film Festivals and Their Publics
The New Queer Cinema: Director’s Cut
B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her ground-breaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire genera--tion of queer artists, filmmakers, and activists. As a critic, curator,…
Wintering Over
The fall equinox (the time of this writing) seemed to mark the world in its terms: literally and metaphorically light and dark, day and night, good and evil, floods and droughts, a global order torn between the forces of positive and negative energies. Amid the mix of apprehension and celebration, the 2021–22 equinox ushered in reopenings of cities, including movie theatres and film festivals. Pandemic deaths became less frequent in some privileg…
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