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Bertolt Brecht

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Journal Article
Camera Obscura (2008) 23 (1 (67)): 89–111.
Published: 01 May 2008
... Gesamtkunstwerk , a poetic concept that also “integrates” music through the taming of female musical bodies. Though Bertolt Brecht's sophisticated critique of the Wagnerian Gesamtkunstwerk adumbrates a useful direction for understanding the generic disintegration of the musical, Brecht, too, ultimately resists...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... of audience and performer; and, following Bertolt Brecht, what we can think of as “third-person singing.” Horne's aloofness illuminates a historically vexed connection between public intimacy and hostility to suggest that as much as intimacy could be a resource for individual and collective transformation...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 93–117.
Published: 01 September 2016
... 2016 actors nonprofessional actors voice speech punctuation Bertolt Brecht Figure 1. Klassenverhältnisse (Class Relations, dir. Jean-­Marie Straub and Danièle Huillet, West Germany and France, 1984) “Actors Simply Explode”: To Act in the Cinema of Jean-Marie­ Straub...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
... of books on film and culture for Columbia University Press. From 1978 to 1986, he was a colleague of Andrew Sarris at Columbia University. © 2015 by Camera Obscura 2015 Andrew Sarris Bertolt Brecht Romantic myth Cinema-Scope Eastman Color copyright Figure 1. The Mammoth Circus displays...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 219–226.
Published: 01 December 1989
... political and aesthetic philosophy derived from Bertolt Brecht, who wrote that the function of the work of art was to divide audiences along class (for me, gender) lines. The outrage I expressed in “The Human Subject-You, Me, or He?” came from reading an analysis of viewership which found...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 127–136.
Published: 01 September 1988
... to a "natural" art of the cinema. Cabiers instead glorified the decadent phases of Preminger, Hawks, and Hitchcock; in their own cinema they looked now to Godard. They showed themselves ready for Bertolt Brecht. Hillier takes us across the short bridge linking self-conscious• ness...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 215–229.
Published: 01 May 2021
... in fig. 4 ). Varda has indicated she was influenced by Bertolt Brecht, whose ideas she encountered through Vilar, and Philippe Noiret and Silvia Monfort, who play the couple in the film, were actors in Vilar's Théâtre National Populaire. Inspired by Brecht, Varda instructed the actors not to convey...
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Journal Article
Camera Obscura (1977) 1 (2 (2)): 34–49.
Published: 01 September 1977
... of culture have played out their role, and are become elements of unculture. But there are other elements that remain which are in difficulty and which we need to de- fend Totake over culture means to transform it decisively. Bertolt Brecht Jean-Marie Straub...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 1–9.
Published: 01 May 2008
... women’s bodies and voices to “disintegrate” the so- called integrated musical, even as these musicals attempt “to make the musical diva submissive to the musical book.” Tracing these ten- sions between women’s bodies/voices and “the text” from Richard Wagner to Bertolt Brecht to contemporary...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
... of estrangement and defamiliarization in the audience. As Bertolt Brecht articulates the concept, “the artist’s object [should be] to appear strange and even surprising to the audience. . . . Everyday things are thereby raised above the level of the obvious and auto- matic.”23 However, the means...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 93–127.
Published: 01 December 2007
... in this context embodies the utopian potential Bertolt Brecht once anticipated for the radio if shifted from being an apparatus of distribution to one of communication: “The radio would be the fnest possible com- munication apparatus in public life, a vast network of pipes . . . if it knew how to receive...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 112–147.
Published: 01 September 1985
..., it is about the conditions of politicized photographic practice as they have been theorized in the past by Bertolt Brecht and Walter Benjamin, and how 116 those conditions have been modified in the present as a consequence of new theoretical infusions and with respect to changed historical...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 29–61.
Published: 01 September 2017
..., the videographer), who is also a character with whom she is, or will be, having sex.47 This convention allows view- ers to stand in for the cameraman as though they too are being seduced. It thereby functions primarily to reinforce, rather than inhibit, what Bertolt Brecht, in a much different context...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 47–75.
Published: 01 May 2001
... theory and French Nouvelle Vague provided early defining inspirations that have remained con- stant throughout his career; the names Bertolt Brecht, Theodor Adorno, and Godard could offer embodiment of these directions. His own works, however, quickly came...
Journal Article
Camera Obscura (2003) 18 (2 (53)): 1–25.
Published: 01 September 2003
... and Huillet entertain, however, refers not to the production of an illusionistic “reality effect” but to a conceptual goal (an “unfilmable” quantity)—to Bertolt Brecht’s notion of “laying bare the causal network.”12 In these terms, a realist goal of Too Early, Too Late may not be to cap- ture scenes...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
... in existence all around us. Or consider some of Rancière’s writings on aesthetics: the essence of unrepresentability has nothing to do with unrepresentability; or elsewhere, Rancière wants the emancipated spectator, but not that  emancipated spectator, the one about which Antonin Artaud and Bertolt...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 87–113.
Published: 01 December 2022
..., in the temporality of the Anthropocene, life (which is distinct from survival) has already been swallowed up by the past: the tableau maintains its sharp borders but is deprived of that promise for revolutionary change that had captured the imaginations of Sergei Eisenstein and Bertolt Brecht. 14...
FIGURES
Journal Article
Camera Obscura (2011) 26 (2 (77)): 1–31.
Published: 01 September 2011
..., mixnyc.org/23/about.php. 31. Stephen Kent Jusick, “Gay Art Guerillas: Interview with Jim Hubbard and Sarah Schulman,” in That’s Revolting: Queer Strategies for Resisting Assimilation, ed. Matt Bernstein Sycamore (Brooklyn: Soft Skull Press, 2004), 50. 32. Bertolt Brecht, Brecht...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 336–372.
Published: 01 December 1989
.... Braudel, Fernand. On History. Translated by Sarah Matthews. Chicago: Uni- versity of Chicago Press, 1980. -. La Mediterranke: L‘Espace et l’histoire. Paris: Flammarion, 1985. Brecht, Bertolt. Sur le cinkma. Paris: L‘Arche, 1970a. -. Sur le rkalisme. Paris: L‘Arche, 1970b. Brooks, Jodi...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 35–71.
Published: 01 September 2005
... rules such as coherence, linearity, and closure, opened up the possibility of multiple meanings.10 Bertolt Brecht’s much earlier concept of distanciation likewise considered more pro- The Adolescent as Postcolonial Allegory • 41 gressive texts, which, instead of following...