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Chinese women���s cinema

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Journal Article
Camera Obscura (2019) 34 (3): 1–29.
Published: 01 December 2019
.... In 1990, she made Good Morning, Beijing Beijing nizao) with a distanced documentary style to repre- Zhang Nuanxin and Social Commitment in 1980s Chinese Women s Experimental Cinema Lingzhen Wang Camera Obscura 102, Volume 34, Number 3 doi 10.1215/02705346-7772363 © 2019 by Camera Obscura Published by Duke...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 229–263.
Published: 01 December 2001
... significantly, an ambivalent his- tory about Chinese women’s relationship to the cinema—the 232 • Camera Obscura promise of liberation and social mobility as well as the lure and risks of a new kind of commodification of the body by film tech- nology. Within this larger frame of reference...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 37–61.
Published: 01 December 2006
... in the female body, in which the aggressive dimensions of Western knowledge and values are bal- anced by Chinese benevolence and femininity). In Tsui’s movies, woman does not exist in herself but merely as the embodiment of male fantasy. The self-consciousness of women is not an issue at all. His...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... to both the loose usage and the overvaluation of the term trans­ 40  •  Camera Obscura nationalism (7). Wang, meanwhile, reengages long-­standing debates of transnational feminism and links them to film scholarship in the introduction to her collection Chinese Women’s Cinema: Trans- national...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
... and installation art also emerging in the s) allowed women and others — until then marginalized by the mainstream — to have an equal voice. Through these new genres they could proclaim a place for themselves in the art world that could not be achieved through the Western, male- dominated eld of painting...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 159–191.
Published: 01 December 2005
... Wong, Chinese actress in Hollywood, returned to America from a pro- longed trip in Europe.”28 In both cases, Wong is unproblemati- cally styled as Chinese, albeit a highly mobile Chinese who might function as a cosmopolitan model for modern Chinese women. Wong’s presumed Chinese identity...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 212–214.
Published: 01 December 2003
... of Chicago Press, 2003. Prawer, S. S. The Blue Angel (Der Blaue Engel). BFI Film Classics Series. London: British Film Institute, 2002. Rabinovitz, Lauren. Points of Resistance: Women, Power, and Politics in the New York Avant-Garde Cinema, 1943–1971. 2d ed. Urbana: University...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
..., “The Boundaries of Terror: Feminism, Human Rights, and the Politics of Global Crisis,” in Just Advocacy? Women’s Human Rights, Transnational Feminisms, and the Politics of Representation, ed. Wendy S. Hesford and Wendy Kozol (New Brunswick, NJ: Rutgers University Press, 2005), 66. 12...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 8–40.
Published: 01 September 1991
... call to “save the children” provides the continuity through modern Chinese literature and culture, we need to ask whether the emotional insistence behind such a call is not at the same time an 33 insistence on forgetting and excluding women. While the child occupies a position in modern...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 174–178.
Published: 01 September 1991
... Theories, Gay Theories edited by Diana Fuss. Routledge, 1991. $15.95. Blackout: Reinventing Women for Wartime British Cinema by Antonia Lant. Princeton University Press, 1991. $15.95. Images of Australia: 100 Films of the New Australian Cinema by Neil Rattigan. Southern Methodist University...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 373–377.
Published: 01 December 1989
... Butler. Routledge, 1989. $12.95. BodylPolitics: Women and the Discourses of Science edited by Mary Jacobus, Evelyn Fox Keller and Sally Shuttleworth. Routledge, 1990. $13.95. ShotlCountershot: Film Tradition and Women’s Cinema by Lucy Fischer. Princeton...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 33–63.
Published: 01 September 2021
.... The Handmaiden 's setting during the Japanese annexation of Korea (1910–45, though the film focuses on the thirties) implicates a painful period in national history. Wounds of colonial rule—such as coercive cultural assimilation and the wartime mobilization of comfort women—still run raw in postcolonial memory...
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Journal Article
Camera Obscura (2001) 15 (3 (45)): 266–268.
Published: 01 December 2001
..., David, and Garth S. Jowett, eds. Hollywood Goes Shopping. Minneapolis: University of Minnesota Press, 2000. Doty, Alexander. Flaming Classics: Queering the Film Canon. New York: Routledge, 2000. Elsaesser, Thomas, with Michael Wedel...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 57–89.
Published: 01 December 2005
... up new forms of subjectivity, especially among women, in both prewar and postwar Japan, modernity did not simply go away. Hansen has made similar claims for the Shanghai cinema of the 1920s and 1930s, which she has described as a vernacular modernism insofar as it is based in sensory affect...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
..., by using the instruments I had learned to handle as a professional, an opportunity to show that Cinema can and should speak about everything and that our history is there, waiting to be told.”s While the serious tone of the video interviews in Murat’s film...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
... single women fail to fulfill the requirements of a 1980’s anti- feminism. They might be considered fatalities of feminism, hung up by a syndrome which feminism made possible. But they manage to sidestep an antifeminism that would either blow their brains out (Fatal Attraction) or tie them...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 159–191.
Published: 01 December 2008
.... We should note at the outset that the entire sequence is introduced by a shot of a crowd of adoring young women, delighted by the spectacle of masculine muscle being staged for them, before the film cuts to one particular viewer, namely Dorothy. In “Visual Pleasure and Narrative Cinema...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
... of heteronormative male sexuality as dependent on oracular- penile stimulations, whereas falling in love with sex is generally considered more problematic in women because it implicitly trespasses the accepted notion of female sexuality as dependent on relational, tactile, ideative, and erogenous...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
... occurs on the action of Nadeshiko combing Shiraito’s hair — not on the teardrop — on the same axis as the medium shot that includes both women and Shinzo¯ (the husband), a shot into which the close-up is inserted. The close-up cannot be taken either as Nadeshiko’s point of view or Shinzo¯’s...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
... has been tailored — ­comes as a welcome change from the pain of objectification and identification. The superiority of invisibility to visibility for women, even in a celebrityobsessed culture such as ours, is the theme of Obsessive24’s “Piece of Me” (2008), about Brit- ney Spears. It may...