New Books in Film

Today’s guest, Krzysztof Rowiński, is the author of Failure Narratives Beyond Redemption: Twentieth Century Literature and Film
(Routledge, 2026). This book focuses on the concept of non- redemptive
failure, a type of failure that is not part of a larger narrative of
success or narrative redemption, with attention to how the concept
functions between literature, critical theory, and other fields.
Examining literature and film from mid- twentieth- century Poland,
Italy, and the United States, it traces productive effects of failure
which cannot survive into the future, yet have an important,
transformative impact in the moment in which they occur. The book
engages with the work of John Williams, Pier Paolo Pasolini, and Bruno
Jasieński, proposing a theory of failure at the intersection of literary
study, performance theory, and political thought. In discussing these
examples, the book examines the place of failure in the broader context
of modern and contemporary US American, Italian, and Polish literary and
cultural traditions.

Because of its interdisciplinary potential, this study might appeal
to readers in art history, philosophy, political theory, and other
fields within the humanities and social sciences. Failure Narratives Beyond Redemption
offers a framework that could not only spotlight the contribution of
literary studies to the topic, in the form of narrative analysis but
also become part of the theoretical apparatus for further research in
these fields.

Jane Hwang Degenhardt is Professor English at the University of Massachusetts Amherst. She is the author of Globalizing Fortune on the Early Modern Stage (Oxford UP, 2022) and Islamic Conversion and Christian Resistance on the Early Modern Stage (Edinburgh UP, 2012). She is also a co-editor of the academic journal English Literary Renaissance.
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Only a few Westerns contain explicitly Jewish stories or themes, and very rarely do Old West tales involve identifiably Jewish
characters. Yet Jewish contributors have shaped the Western—once
Hollywood's most popular genre—ever since the silent era, both onscreen
and offscreen, and some filmmakers have sought to infuse the genre with a
distinctly Jewish sensibility. In Chai Noon: Jews and the Cinematic Wild West (University of Wisconsin Press, 2025), Friedmann
engages with larger themes of Jewish identity in popular film,
including depictions of race, ethnicity, and foreignness. He also
identifies similar concerns within the invention and creation of the
imaginary West writ large in American culture. The juxtapositions prove
to be both unexpected and intuitively understandable.
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Tennyson called nature “red in tooth and claw,” but that warning didn’t keep Timothy Treadwell from living among the grizzlies of Alaska for thirteen summers–until one of them killed him and his girlfriend. Werner Herzog’s 2005 documentary Grizzly Man tells Treadwell’s story and raises the issues of what happens when we ascribe human motives and characteristics to animals and the ways in which we all attempt to stake out our own territory in an indifferent world.

Incredible bumper music by John Deley.

Herzog’s most recent book The Future of Truth (2025) is a series of essays about what constitutes truth and the threats truth faces in our age of AI and deepfakes.

Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla’s substack, The Grumbler’s Almanac, for commentary on offbeat topics of the day.
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Woody Allen has called A Streetcar Named Desire the most well-directed film ever made and its influence on Blue Jasmine (2013) is unmistakable. Both concern a woman whose fantasy life and self-deception break down and both feature incredible performances by the lead actress: in Streetcar, it’s Vivien Leigh and here it’s Cate Blanchett. And if Streetcar is a high point of Eliza Kazan’s filmography, Blue Jasmine is surely one of Allen’s and perhaps the best of the subgenre Woody Allen Movies Without The Woody Allen Character.

Incredible bumper music by John Deley.

Blue Jasmine is Allen’s 44th film; his memoir, Apropos of Nothing, details how he became a writer and director of fifty films.

Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla’s substack, The Grumbler’s Almanac, for commentary on offbeat topics of the day.
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How the sound of the female playback voice impacts Bollywood's cultural, musical, and cinematic environment.

Drawing on sound studies and performance theory, scholar Shikha Jhingan explores the discursive nature of the female playback voice in Bombay film songs in The Female Playback in Bombay Cinema: Voice, Body, Technology (Wayne State UP, 2025). Mapping the production, circulation, and reception of the voices of singing stars—notably Lata Mangeshkar and Asha Bhosle—Jhingan situates the singing voice as a cinematic object with limitless possibilities of distribution and dispersal. She employs the perspectives of a diverse range of listeners across a vast media landscape to illustrate how the affective charge of the female playback voice, combined with developments in audio technology, has led to a gradual expansion of opportunities for women in film, popular music, and media and audio production. With nuanced exploration of the way the human voice becomes intertwined with devices such as the microphone, radio, cassettes, and digital technologies, Jhingan argues for the sonic excess of the female voice beyond the narrative and visual. The Female Playback in Bombay Cinema is an authoritative addition to the field of sound studies with implications for gender studies, performance studies, and cinema studies.
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