B. Ruby Rich

Catalogues the first thorough exhibition of Isaac Julien’s work in the USA, and the largest to date on his film and video installations. Sir Isaac Julien (b 1960) is one of the UK’s leading artists working in film and video, celebrated for his poetic yet astutely political films and video installations that reflect on the intersection of power, politics and personal experience through the lens of identity, race and sexuality. Published to accompany the first comprehensive survey of Julien’s work in a US museum setting, and the largest exhibition focusing on Julien’s film and video installation works to date, Isaac Julien: I Dream a World charts the artist’s evolution from a filmmaker working in a single-channel cinematic context to an artist redefining the possibilities of the filmic experience through spellbindingly beautiful and complex choreographies of image, movement and sound. It emphasizes Julien’s shared concerns across the Black diaspora with the inclusion of works shot in and across the Americas and the Caribbean that situate his work in a global dialogue. By addressing the pressing social and political issues of our time, in particular the movement of peoples and ideas across different continents, times and spaces, Julien asks viewers to reconsider the grand historical narratives of the global north anew. This luxurious catalogue features newly commissioned essays and archival materials, many previously unpublished, that relate to the works in the exhibition and give important insight into the artist’s working process.

B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking 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 generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.

If there was a moment during the sixties, seventies, or eighties that changed the history of the women’s film movement, B. Ruby Rich was there. Part journalistic chronicle, part memoir, and 100% pure cultural historical odyssey, Chick Flicks-with its definitive, the-way-it-was collection of essays-captures the birth and growth of feminist film as no other book has done. For over three decades Rich has been one of the most important voices in feminist film criticism. Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in the Village Voice, Elle, Out, and the Advocate, and her commentaries on the public radio program “The World” have secured her a place as a central figure in the remarkable history of what she deems “cinefeminism.” In the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history, Rich introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose. Travel, softball, sex, and voodoo all somehow fit into a book that includes classic Rich articles covering such topics as the antiporn movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform. The result is a volume that traces the development not only of women’s involvement in cinema but of one of its key players as well. The first book-length work from Rich-whose stature and influence in the world of film criticism and theory continue to grow-Chick Flicks exposes unexplored routes and forgotten byways of a past that’s recent enough to be remembered and far away enough to be memorable.

If there was a moment during the sixties, seventies, or eighties that changed the history of the women’s film movement, B. Ruby Rich was there. Part journalistic chronicle, part memoir, and 100% pure cultural historical odyssey, Chick Flicks-with its definitive, the-way-it-was collection of essays-captures the birth and growth of feminist film as no other book has done. For over three decades Rich has been one of the most important voices in feminist film criticism. Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in the Village Voice, Elle, Out, and the Advocate, and her commentaries on the public radio program “The World” have secured her a place as a central figure in the remarkable history of what she deems “cinefeminism.” In the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history, Rich introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose. Travel, softball, sex, and voodoo all somehow fit into a book that includes classic Rich articles covering such topics as the antiporn movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform. The result is a volume that traces the development not only of women’s involvement in cinema but of one of its key players as well. The first book-length work from Rich-whose stature and influence in the world of film criticism and theory continue to grow-Chick Flicks exposes unexplored routes and forgotten byways of a past that’s recent enough to be remembered and far away enough to be memorable.