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In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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D. Harlan Wilson’s Strangelove Country is a deft, innovative study of Stanley Kubrick’s relationship with science fiction that explores how the genre shaped his cinematic identity and how that identity reshaped the genre. Focusing on Kubrick’s futurist trilogy—Dr. Strangelove, 2001: A Space Odyssey, and A Clockwork Orange—as well as his collaboration with Steven Spielberg on A.I. Artificial Intelligence, Wilson takes a unique approach that is at once scholarly and defiant of academic stodge. Specifically, he views the “Kubrickian consciousness” through the lens of schizoanalysis and filmosophy, methods of inquiry that he uses to probe how Kubrick’s oeuvre forms a singular, autonomous, interstitial “filmind” distinct from the director, with its own way of thinking, seeing, and being. Synthesizing film theory, critical analysis, and novelistic technique, Wilson reaffirms Kubrick’s status as one of the twentieth century’s greatest auteurs while casting new light on the filmmaker’s extraordinary contribution to the history of cinema.
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