This issue looks at representation and questions not only if representation is possible but, out of the blurred concept of “representing,” examines what is formed. Four essays explore, in entirely different subjects, ideas around how far and how much further a given representation can take a given subject.
Allyson Nadia Field, in “To Journey Imperfectly: Black Cinema Aesthetics and the Filmic Language of Sankofa,” discusses Haile Gerima’s means of subverting cinema practices and storytelling in his 1993 film Sankofa. Noa Steimatsky, in “Pass/Fail: The Antonioni Screen Test,” discusses Michelangelo Antonioni’s exposure or suppression of a “self” in “Il provino/The Screen Test,” his little known, little studied film in Dino De Laurentiis’s three part, I tre volti/Three Faces of a Woman (IT, 1965). Stephen Charbonneau’s “Exporting Fogo: Participatory Filmmaking, War on Poverty, and the Politics of Visibility” gives a detailed account of the late sixties’ collaborative Canadian and American film project to document lives of a farming community. Jon Gartenberg celebrates the ornate history of how the “city symphony” genre rendered New York from early twentieth-century actualitiés to late century avant-garde in his “NY, NY: A Century of City Symphony Films.” [End Page 169]