How filmmaker-philosophers brought the dream of making documentaries and strengthening democracy to award-winning reality—with help from nuns, gang members, skateboarders, artists, disability activists, and more.
 
The evolution of Kartemquin Films—Peabody, Emmy, and Sundance-awarded and Oscar-nominated makers of such hits as Hoop Dreams and Minding the Gap—is also the story of U.S. independent documentary film over the last seventy years. Patricia Aufderheide reveals the untold story of how Kartemquin developed as an institution that confronts the brutal realities of the industry and society while empowering people to claim their right to democracy.
 
Kartemquin filmmakers, inspired by pragmatic philosopher John Dewey, made their studio a Chicago-area institution. Activists for a more public media, they boldly confronted in their own productions the realities of gender, race, and class. They negotiated the harsh terms and demands of commercial media, from 16mm through the streaming era, while holding fast to their democratic vision. Drawing on archival research, interviews, and personal experience, Aufderheide tells an inspiring story of how to make media that matters in a cynical world.

How Black women’s visual work functions in an era of new racial and gender meaning

In the wake of contemporary art’s post-Black turn and the mainstreaming of intersectionality, Undesirability and Her Sisters charts a new genealogy of Black women’s art that exposes the unfinished project of racial and gender empowerment in the twenty-first century. Tiffany Barber argues that Black women’s social positions at the intersection of race, gender, sexuality, and class are inherently queer, thus spurring unexpected aesthetic strategies that throw into high relief the ethical terrain of what it means to be Black and a woman now.

Undesirability and Her Sisters collates what Barber terms “undesirable” representations of Black female bodies in recent American sculpture, collage, photography, and dance-based performance art by Kara Walker, Wangechi Mutu, Xaviera Simmons, and Narcissister. These works not only engage the visual senses but also incorporate olfactory, haptic, and sonic experiences that challenge traditional interpretations of Blackness and womanhood in art history, Black Studies, feminist and gender studies, dance and performance studies, and queer studies. Instead of transcendental beauty, wholeness, and individual and collective becoming, the perverse Black female figures profiled here eschew sublimation and synthesis as necessary responses to racial and gender subjugation in the past, present, and future.

Through its unique, groundbreaking analysis, this book contributes to the ongoing discussions on the ethics of representation—the capacity to speak and act for oneself, to have significance and impact, and ultimately, to reject acknowledgment.

First published in 1983, Shiguéhiko Hasumi's Directed by Yasujirō Ozu has become one of the most influential books on cinema written in Japanese. This pioneering translation brings Hasumi's landmark work to an English-speaking public for the first time, inviting a new readership to engage with this astutely observed, deeply moving meditation on the oeuvre of one of the giants of world cinema. Complemented by a critical introduction from acclaimed film scholar Aaron Gerow and rendered fluidly in Ryan Cook's agile translation, this volume will grace the shelves of cinephiles for many years to come.

A girl made of glass. Gods and murders. A serial killer’s friends. And a secret in a bottle. This volume also contains the short plays Seven Jewish Children, Ding Dong the Wicked, Pigs and Dogs, War and Peace Gaza Piece, Tickets Now on Sale, and Beautiful Eyes.

“This new play is a subversive enchantment. It is part absurd domestic seriocomedy, part erotic magic realism, unflinching about taboos and about questioning that, just maybe, monogamy isn’t enough.” —Linda Winer, Newsday

Over dinner with another married couple, George and her husband grow fascinated by stories of their friends’ new acquaintance—an intriguing younger woman named Pip. What begins as an innocent intellectual discussion turns into a sexually explosive New Year’s Eve party after George extends an invitation to Pip and her two live-in boyfriends, raising the question: What ultimately binds human beings together?