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Black Mirror

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Journal Article
Camera Obscura (2020) 35 (3 (105)): 88–115.
Published: 01 December 2020
...Erin Greer The episode “Nosedive” from the Netflix series Black Mirror (dir. Joe Wright, Netflix, UK, 2016) provides a dystopian version of a popular narrative about digital culture, according to which the ascent of social media marks the “feminization of the Internet,” its transformation from...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 1–29.
Published: 01 May 2022
... the pulse of Black life; the role of digital media in the lives of twenty‐first‐century Black Americans mirrors that of Black magazines and newspapers in the nineteenth and twentieth centuries. Of particular note is the way that Black youth, especially Black girls, use digital media spaces to make...
FIGURES
Journal Article
Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
...Nick Davis This article yields three new and interlocking readings of Julie Dash's Illusions (US, 1982), a classic of black feminist cinema frequently analyzed from the intersectional standpoint of gendered and racial representation. First, I explore Dash's potent use of close-ups at key points...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 1–5.
Published: 01 December 2023
...–87; Erin Greer, “Wages for Face-Work: Black Mirror 's ‘Nosedive’ and Digital Reproductive Labor,” Camera Obscura , no. 105 (2020): 88–115; and Alex Pittman, “The Reserve Army of Affectivity: Unemployed Labor in William Greaves's Psychodramatic Cinéma Vérité,” Camera Obscura , no. 109 (2022): 31–59...
FIGURES
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 227–231.
Published: 01 May 1979
... Subjektitude (16mm, Black and White, 4 min.) 1967 Silvo ( 16mm, Black and White, 11 min.) 1967-68 Break the Power of the Manipulators (16mm, Black and White, 50 min.) 1969 Children are not Cattle (16mm, Black and White, 29 min.) 1971 A Bonus for Irene 1972 Is the Pill...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 224–227.
Published: 01 May 1979
...Elisabeth Lyon (Helke Sander) (1977, 98 min., Black and White, 35 mm) Copyright © 1979 by Camera Obscura 1979 224 posium with the same title during the 2 1st international art discussions at the galttrie nachst st. stephan (1975). since 1967 engaged in extended forms...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 6–41.
Published: 01 December 1980
..., then exits. 21 From the left, Anne-Marie Stretter enters, closing her black peignoir around her. She exits at the right edge of the frame and reappears, reflected in the background by the mirror, wallung toward the open doors. She goes outside, then reenters, still seen reflected in the mirror...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 4–40.
Published: 01 September 1993
... of the mass electronic media haunt every frame, re-framing the composition, cluttering the mise-en-sc8ne like so many black mirrors. Not surprisingly, the net effect of this foregrounding of the televisual apparatus in Total Recall is an implicit demonization of the technology in question...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 107–139.
Published: 01 December 2023
... stylizations of sex scenes—from romantic to awkward to alienated—both representing stereotypes of objectified Black women and shattering them, so as to construct the author-performer protagonist's and her peers’ sexual subjectivity. 44 By using the mirror as a form of introspection, Issa talks with her own...
FIGURES
Journal Article
Camera Obscura (2003) 18 (3 (54)): 131–175.
Published: 01 December 2003
.... In a radical departure from the position of black servants in Sirk’s films, Sybil regularly exhibits an active gaze. For one thing, she can look directly into the mirror, unlike Annie Johnson in Imitation of Life, whose glance is always oblique to it. And, unlike the servants in Written on the Wind, who...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 139–161.
Published: 01 September 1990
... by the stillness and the “flatness” of the photographs, and whose immediate effect is to parcel out space and to dismantle time- becomes even more complicated with the addition of another phe- nomenon: the obsessive presence of long dissolves and fades to black. Odin, moreover...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 28–59.
Published: 01 September 1983
... alwayshad trouble analyzing itself. Representing itself, on the other hand, is something it does almost incessantly, its most powerful works haunted by a kind of mirroring and mise en abyme which seem to be their favorite form of torment. Lang, Hitchcock. In its purest fiction, the machine even runs...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 27–38.
Published: 01 May 1976
..., a black speck emerges and this is gradually recognizable as a woman in black, who slowly walks toward the camera and then out of frame. The light recalls the mirror as light-reflector in shot 4. The emergence of the woman from the source of light (possiblythe vanishing point of the image...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
.... “Look at me,” she demands. “Am I not white? Isn’t that a white girl there?” The mirror holds a con- tradiction. It reflects who Peola is and who she can never be. The black mother, physically hovering over her daughter, haunts Peola’s relation to her “white” mirror image. She blames her mother...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 32–48.
Published: 01 September 1995
... mirror the decadence of the white crime boss-corporate pimp, Denny, played by Michael Caine.” Dressing and undressing as Jordan’s clothes horses, black women are frequently seen in feminine, sexualized attire in his films. Simone’s flamboyant tastes in Mona Lisa are a byproduct of her trade...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 124–160.
Published: 01 September 1993
... culture. Calling for a new theorization of the black male body, Mercer insists that “it is in the domain of race, whose violent and sexy phantasia haunts America daily, that our need for an understanding of the psychic reality of phantasy, and its effect in the body politic, is greate~tIn only...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 28–49.
Published: 01 September 1985
... look through a series of traps-impossible and unexpected images of itself, meant to perturb a sense of identity. The spectator is faced simultaneously with his present reflection in a mirror and with a video image of him as he was eight seconds before (in Present continzlozcspast(s) by Dan...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 54–85.
Published: 01 January 1989
... affirmative representations of women, blacks, gays or the left, although that is already a great deal given the intense preoccupation of Fassbinder’s cinema with precisely those sexual, so- cial and political groupings. What is thus placed at risk is identity itself, which...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 69–91.
Published: 01 January 1996
... society in this period-and, specific- ally, the upward mobility of a few minority groups-threatened the traditional topography of "middle-classness" by diversifying its spaces. In particular, as William Julius Wilson notes, "the exodus of black middle-class professionals from the inner city...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 163–191.
Published: 01 May 2000
.... In the subsequent shot, the film takes us back to the cellar of the antique store, and the space adjacent to the painting of the mother is stretched into an anaphoric mirror to reveal a reel of black-and- white film. The cinematic screen, which had previously been rec...