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Children of Paradise

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 93–127.
Published: 01 May 2017
...Hervé Picherit This essay argues that the French actress Arletty, née Léonie Bathiat, engaged in a multifaceted and complex form of selfhood that profoundly influenced her role in the classic film of the French occupation period, Les enfants du paradis ( Children of Paradise , dir. Marcel Carné...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
... cap.>Streets of London, Children of she has a hard time disentangling herself, and again with the frame Men (2006) of a French window that somehow places itself in the way of her feet, making Eva stumble. Robert’s bike lying in the grass provides <fig. 3 cap.>Simulacrum of Pink...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... associated with nature: she is an excel- lent swimmer (obnoxiously pronouncing herself “the winner!” when she beats two young children in a swimming race) a superb The Front Lawn of Heaven  •  127 Ellen emerging from the sea Ruth, “the gal with the hoe...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
... remember it. It wasn’t like that at all. Mieze can’t have children and she tells that to Biberkopf. She asks you to have Biberkopf’s child. hs: So I have the child? jl: Yes, you visit her and discuss it. hs: But she has it in the end? jl: No, you do! She can’t have any. hs: I’m supposed...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2003) 18 (2 (53)): 93–123.
Published: 01 September 2003
... children in a promiscuous game of kissing and hugging them. Similarly, Baines demonstrates an almost worship- ful care for the piano, which he himself has objectified in his bar- gain first with Stewart, then with Ada. However, as Bataille has taught us, even the most advanta- geous selling...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 97–125.
Published: 01 May 2012
... lm industry and as audiences. In particular, Shelley Stamp’s work on the so- called white slave lms of and and on Where Are My Children? (dir. Lois Weber, US, has revealed a great deal about the intricacies of board decision making, including its habit of bringing in outside consultants...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 69–87.
Published: 01 May 2008
... married and have children. Her book characterizes Joplin as a woman “bored with the dreariness of the turnover in her bed . . . and sick to death of being drunk,” a woman with “a terrible pounding longing for love and a growing loneliness from which she was simply bleeding to death.”16...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 107–137.
Published: 01 September 2009
... provisions of the Personal Status Code were being challenged.28 Wealthy enough to support three wives and their children in comfort, and a staunch and respected traditionalist, the hajj embodies the kind of man who stands to benefit most from laws that permit polygamy, declare men...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 111–135.
Published: 01 May 2014
... journals such as Screen, Screening the Past , and Continuum and in a number of edited collections. She is currently working on a project on performing children in film. © 2014 by Camera Obscura 2014 Figure 1. Mia Wasikowska, Lisa Cholodenko, and Julianne Moore on the set of The Kids Are All...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2015) 30 (2 (89)): 89–123.
Published: 01 September 2015
... distance, couples walk arm in arm, children laugh, and a barbershop quartet sings in perfect harmony. Perfection appears to be the norm in this strange city, where the stores operate on an honor system, and not even one blade of grass looks out of place. Granted, the apparent perfection of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
... the limits of this threshold. Allegory and the Aesthetics of Becoming-Woman  •  11 Little Hava, not unlike the child protagonists of many other Iranian films, includingThe White Balloon (Badkonake sefid, dir. Jafar Panahi, 1995), Children of Heaven (Bacheha-Ye...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 199–225.
Published: 01 May 1997
... everyone you meet is going to let you down. If you do, you wind up like me.” The film closes by highlighting what might be called a non-traditional family structure, not only because it consists of two children and a single, male head of household, but because that...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2006) 21 (2 (62)): 108–143.
Published: 01 September 2006
... trajectory of the nuclear family is already decon- 130  •  Camera Obscura structed before it begins. In a scene depicting Laura and René skating on ice, the figures articulate the “ten greatest catastrophes of life”: “have children, move in together, marry, get fat, get bored, watch TV, no more sex...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 169–177.
Published: 01 January 1988
... family viewing habits by Peter Collet, the Oxford psy• chologist, has recorded fathers who carry the device around the house with them in order to preempt palace revolutions. While, for children, the prerogative of "watching" is often a privilege issued as a reward for good behavior, the punishment...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2005) 20 (2 (59)): 119–163.
Published: 01 September 2005
... tion of it as masculinist and elitist, especially when the impact of nonfiction film, the reception of women and children, and the issue of memory in and of the cinema are considered. In order to map out this new terrain for studying early French film criticism in which noncanonical genres...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1985) 5 (1-2 (13-14)): 50–83.
Published: 01 September 1985
... authorial status is not a given, the next best guarantee would be the signature, or the trace, of the Author under the various forms of his Name (the Name which his father carefully writes out while his children respectfully look on in silence) (IM, p. 23): the extensive reference to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1996) 13 (1 (37)): 69–91.
Published: 01 January 1996
... they later impose on their victims: Freddy is attacked and set on fire by a mob of angry parents, who accuse him of abusing their children; Jason's cries for help while drown- ing are ignored by the summer camp's middle-class counselors. The originary experience of fear...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 76–91.
Published: 01 May 1992
...- analysis, trans. Martha Noel Evans and the author with the assistance of Brian Massumi (Ithaca: Cornell UP, 1989) 228. 10. A number of texts dramatize this in narratives in which children tell fraudulent tales to their analyst. See for instance the film Clara’s Heart...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1992) 10 (1 (28)): 78–99.
Published: 01 January 1992
... (New York: Pocket, 1988). Priorities and women’s coalitions: Jackie Winnow, “Lesbians Working on AIDS,” Outlook 5 (1989): 10-18; “PWA Coali- tion Portfolio”; Suki Ports, “Needed (For Women and Children Carol Leigh, “Further Violations of Our Rights,” October...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 88–107.
Published: 01 September 1991
...) involves a demonstration of sexual difference through the showing of private parts. Deckard insists upon invoking the childhood scene through which children show sexual difference to one another as a means to construct a difference between himself (as human) and Rachel (as android). Deckard...