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(self-)portraiture

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Journal Article
Camera Obscura (2021) 36 (1 (106)): 61–85.
Published: 01 May 2021
...Nadine Boljkovac Abstract This article considers Vardian acts of listening and (self-)portraiture. With works that celebrate the material world in its myriad forms and scales, from a beloved button to a bottomless sea, Agnès Varda developed a method of empathetic engagement. Her encounters grasped...
FIGURES
Journal Article
Camera Obscura (2021) 36 (1 (106)): 1–7.
Published: 01 May 2021
... honored, Varda also opens questions of national reflection on gender and historical commemoration. In “She Listened: Vardian Self-Portraiture and Auto-Refrains of Sea, Wind, and Sand,” Nadine Boljkovac examines (self-)portraiture in The Beaches of Agnès ( Les plages d'Agnès , France, 2008), Agnès...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 67–107.
Published: 01 May 2009
... traditional “honor- ific” function, “that of providing for the ceremonial presentation of the bourgeois self” — a self now subject to art and science, to contemplation and control.18 This marks a slight but crucial elabo- ration of Tagg’s terms: portraiture does not merely describe the self...
Journal Article
Camera Obscura (2000) 15 (2 (44)): 75–103.
Published: 01 September 2000
... with MacCabe where Godard remarks, “Sometimes I prefer to look at faces or at things in paintings because I can look longer and there are more things to see than in a picture.”54 But the question of the difference between self-portraiture and auto- biography...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... in the context of bour- geois portraiture, on the one hand, and the employment of pho- tography for purposes of social surveillance on the other. In his work, the shadow stands for the unacknowledged, sinister, and yet enabling counterpart to the self-­image of the bourgeois subject. The shadow...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 1–31.
Published: 01 September 2011
... Jason’s knowledge of nightclub conventions for cabaret and solo stage acts. In particular, Jason seems to be self consciously aware of the ideological assumptions which underpin such popular forms of entertainment: namely, that it is the remarkable life which guarantees the expressive power...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 71–103.
Published: 01 May 2006
... private space of the plantation. Often they did so without editing or even tempering the planter’s emotional reaction to the event. This lack of self-consciousness on the part of planters reflected their unquestioned position of privilege within the social system. The runaway notice...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 187–213.
Published: 01 May 2021
... (Berkeley: University of California Press, 2017), 115–42; and Dominique Bluher, “The Other Portrait: Agnès Varda's Self-Portraiture,” in From Self-Portrait to Selfie: Representing the Self in Moving Images , ed. Muriel Tinel-Temple, Laura Busetta, and Marlène Monteiro (New York: Peter Lang, 2019), 47–76...
FIGURES | View All (8)
Journal Article
Camera Obscura (2004) 19 (2 (56)): 1–45.
Published: 01 September 2004
... the illumination of other people’s eyes, and therefore cannot be entirely sure what is my self.” —Bernard from Virginia Woolf’s The Waves In 1992–93, an exhibition titled Visualising Masculinities was featured at the Tate Gallery in London. The declared aim of the exhibition was to examine “the display...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... is a process of mutual portraiture. Like in Bonvicini’s video instal- lation, the editing traces the contours of a figure that exists only in between times, a self-­differentiating, heterogeneous figure that archives its own perpetual transformations. Here, however, the sense of doom that still...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 39–75.
Published: 01 May 2020
... thresholds between body and mind, self and other, nature and culture. Figure 1. Nina Sobell, EEG: Video Telemetry Environment (also known as Brainwave Drawings, 1975), installation at the Contemporary Arts Museum, Houston. Courtesy of Nina Sobell Reflecting on the performative and interactive coordinates...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
...Pooja Rangan This article investigates the contemporary phenomenon of “child media advocacy,” or the practice of “empowering” child subjects by providing them with media technologies as a means of self-representation. Tracing the genealogy of this practice to an older ethnographic tradition...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... their sexual agency and power and imposes a new form of self- censorship (311, 314). One female student, who has had her nose removed, argues that “calli is for wusses. My attitude is, fight back. Go radical ugly. That’s what the beautiful people need to see. . . . It’s about how ugly can beat beautiful...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 185–207.
Published: 01 May 2005
... the audience sees is McPhee’s self- portrait. Only after a number of other images, including those of Maori and Polynesian warriors, are the dusky maidens revealed. When the narrator presses McPhee for details about the velvet lady, all the painter can remember is that she used to dance on the tables...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 176–192.
Published: 01 May 1979
..., dynamic young woman in her late twenties. When we started finding photographs of her taken much earlier, or much later, when she was in her forties, each photograph opened up a new dimension to Maya: how she felt about herself, her self-image, how she dressed and danced, what her different moods...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 123–151.
Published: 01 May 2016
...) that serve, at least partly, as memorials. A complex, specific brand of nostalgia is produced in the film’s tone because the object of memorialization that it self-­consciously attempts to apprehend is a nonunitary product of all of the following (though all of these aspects together call out...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
... resistant to transformation. If race is revealed to be (or has scien- tifically been proven to be) a social code, rather than a natural or biological condition, this revelation has yet to transform the social function of race in the maintenance of uneven power relations. The claim that “online self...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
... that feedback is not necessarily inherent to video, especially single- channel works By focusing on the relationship of the self as projected object (in Lacanian terms), Krauss has identi ed a psychological state that requires the artist to engage with history, de ned as individual history and also...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
..., it is all the same.1 This essay meditates upon the entanglements of love and loss with certain media — the photograph and the calendar — and their formal contracts to repeat and return as promises of self-­ extension and continuity. Considered alone, the photograph appears to request a private...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 141–169.
Published: 01 September 2004
... of current reformers, Shoes actually demonstrates cinema’s distinctive role in progressive debates, its intertext producing a complex conversa- tion about the role cinema might play in progressive society. Shoes engages quite self-consciously with contemporary sociological discourse at its...