{"id":2973,"date":"2013-06-19T12:27:36","date_gmt":"2013-06-19T19:27:36","guid":{"rendered":"http:\/\/filmquarterly.futurepruf.com\/?p=2973"},"modified":"2020-07-20T10:19:31","modified_gmt":"2020-07-20T17:19:31","slug":"winter-2012-volume-66-number-2","status":"publish","type":"post","link":"https:\/\/filmquarterly.org\/2013\/06\/19\/winter-2012-volume-66-number-2\/","title":{"rendered":"Winter 2012: Volume 66, Number 2"},"content":{"rendered":"

\"\"DEPARTMENTS<\/strong><\/p>\n

Platforming: Conversion and Culture Shock<\/a><\/span>
 Caetlin Benson-Allot<\/a><\/span><\/p>\n

Intertitles: Eastman Kodak RIP<\/a>
Paul Thomas<\/p>\n

FEATURES<\/strong><\/p>\n

“Surveillance Cinema”<\/a>
Garrett Stewart<\/p>\n

“Building on the Ruins: Christian Petzold Discusses\u00a0Barbara”<\/em><\/a>
Megan Ratner<\/p>\n

Interview with Susana de Sousa Dias<\/a>
Scott MacDonald<\/p>\n

Walkin’ in the Sand: Interview with Laida Lertxundi<\/a>
Genevieve Yue<\/p>\n

The Second Century of Manoel de Oliviera<\/a>
Wheeler Winston Dixon<\/p>\n

FESTIVAL REPORTS<\/strong><\/p>\n

Sundance Film Festival: Sundance
B. Ruby Rich<\/a><\/span><\/p>\n

New York Film Festival: Cinema Reflected<\/a>
Paul Julian Smith<\/p>\n

Romanian Film Festival: The Elusive Truth: Making Waves Festival<\/a>
Megan Ratner<\/p>\n

BOOK REVIEWS<\/strong><\/p>\n

The British Film Institute, the Government and Film Culture, 1933\u20132000<\/em> edited by Geoffrey Nowell-Smith<\/span> and Christophe Dupin<\/span><\/a>
David Sterritt<\/p>\n

Hollywood\u2019s Copyright Wars: From Edison to the Internet<\/em> by Peter Decherney<\/span><\/a>
Brian Real<\/p>\n

Austrian Film Museum<\/em> edited by Kent Jones<\/span> and A Post-May Adolescence: Letter to Alice Debord<\/em>\u00a0<\/em><\/a>by Olivier Assayas<\/span>
Genevieve Yue<\/p>\n

The Beauty of the Real: What Hollywood Can Learn From Contemporary French Actresses<\/em> by Mick LaSalle<\/span><\/a>
Joshua Sperling

\n
Snow White and the Seven Dwarfs<\/em> by Eric Smoodin<\/span><\/a>
Katherine A. Johnson<\/div>\n<\/div>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

FEATURES: Conversion and Culture Shock; Eastman Kodak RIP; plus festival reports from New York, Romania, and Sundance<\/p>\n","protected":false},"author":114460377,"featured_media":5360,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_crdt_document":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"categories":[629],"tags":[559438560,1934711,19799685,1885925,250147,60637547,78442],"class_list":["post-2973","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-issues","tag-fq-66-2","tag-new-york-film-festival","tag-portuguese-cinema","tag-spanish-cinema","tag-sundance","tag-surveillance-cinema","tag-table-of-contents"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/filmquarterly.org\/wp-content\/uploads\/2013\/06\/winter2012_featured.jpg?fit=2153%2C885&ssl=1","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p87utL-LX","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/posts\/2973","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/users\/114460377"}],"replies":[{"embeddable":true,"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/comments?post=2973"}],"version-history":[{"count":8,"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/posts\/2973\/revisions"}],"predecessor-version":[{"id":9057,"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/posts\/2973\/revisions\/9057"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/media\/5360"}],"wp:attachment":[{"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/media?parent=2973"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/categories?post=2973"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmquarterly.org\/wp-json\/wp\/v2\/tags?post=2973"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}