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Cinema-Scope

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Journal Article
Camera Obscura (2021) 36 (1 (106)): 215–229.
Published: 01 May 2021
...Rebecca J. DeRoo Abstract Agnès Varda frequently presented her career as encompassing three domains: photography, cinema, and visual art. While her cinema and late-career artistic work are widely accessible, her early photography remains a growing area of study. Moreover, it has often been repeated...
FIGURES | View All (10)
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 (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
.... In addition, their amateur status and technical limitations pro- vided greater scope than 16 mm film for an aesthetic disidentifi- cation with the polished spectacle of popular narrative cinema. The flexibility gained from the handheld mobility of the Super-8 camera, combined with the constraints of its...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 1–3.
Published: 01 May 2014
... of the conventional director study, others the scope of regional filmmaking and national cinema and politics. Taken together, the essays offer an innovative way to approach women’s film practice in the twenty-­first century. The contemporary landscape of cinema production and interpretation...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
... screening in the Tokyo Kinema movie theater. The actors pictured are Okada Yoshiko, right, and Tanaka Kinuyo, left. Reprinted from Toyo Cinema Weekly, 9 February 1933. New Women of the Silent Screen: China, Japan, Hollywood Catherine Russell The movie screen here is not simply...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 27–31.
Published: 01 May 2006
...Sandy Flitterman-Lewis Camera Obscura 2006 Sandy Flitterman-Lewis is an associate professor in the English department at Rutgers University, where she teaches courses in cinema studies, comparative literature, and women's studies. She was one of the four founding coeditors of Camera...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 4–7.
Published: 01 January 1990
... as examples the film criticism of Molly Haskell and Marjorie Rosen, the critical debates on authorship and classical cinema, and the more recent studies of spectatorship and consumerism, Petro argues that even when not directly acknowledged as such., historical presuppositions and modes...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 165–168.
Published: 01 December 1989
... spectator” arose as a problematic largely in response to Laura Mulvey’s 1975 ccfeminal”essay, “Visual Pleasure and Narrative Cinema.” While that essay posited a constructed spec- tator -as an effect of the text- addressed as male, Mulvey’s pronoun- choice HE seemed to flag...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
... in analyses of race, ethnicity, nationality, sexuality, gender expres- sion, and generation as it is in analyses of gender. Further, in addi- tion to broadening its political and theoretical scope to encompass such concerns, Camera Obscura has also enlarged the scope of the texts it addresses, moving...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 30–41.
Published: 01 May 1981
... which have a larger scope, as in cinema, again because of the isolating power of the word. Pitched against traditional rhetoric and its dependence on figures of the trope, Jakobson’s realignment offers a distinct advantage since it becomes possible to go beyond...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 3–5.
Published: 01 May 1981
... Editorial In this issue, we are continuing our previous investigation of the logic of enunciation and sexual difference as figured in the cinema by way of an analysis of Now Voyager. At the same time, we are directing attention toward a complementary area of inquiry by offering...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 120–126.
Published: 01 September 1988
...Marie-Claire Ropars-Wuilleumier Gilles Deleuze, Cinema 1: The Movement-Image (Minneapolis: University of Minnesota Press, 1986: Minuit, 1983) and Cinéma 2: L'Image-temps (Minuit, 1985; forthcoming in translation) Copyright © 1988 by The Johns Hopkins University Press 1988 The Cinema...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 1–35.
Published: 01 December 2006
... scope drove the industrial process. The shift also reflected a shift in terms of audience address. Whereas films at the beginning of the transitional era of cinema reinforced the exteriority of the spectator’s position, at the end, the viewer was enveloped into the diegesis of the film. A key...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 146–154.
Published: 01 September 1988
... define and continuously redefine its object of study, goals, scope and methods They also carefully distinguish the historian from the theorist and critic (though they admit that the boundaries between the three are never fixed): "the film historian attempts to explain...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 1–7.
Published: 01 December 2001
... with Francis Ford, is one of many “highly significant early female figures who have received only cursory attention in the histories of cinema.” Photo courtesy Museum of Modern Art Film Stills Archive Introduction: Female Stardom and Early Film History Diane Negra Designed to explore specific...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... in the contemporary global terrain of film festivals and criticism. Bier's recent work demonstrates properties of both art cinema and popular European genre cinema; as a result, estimations of her films' critical and cultural worth have frequently been divergent and arguably gendered. The discussion focuses on three...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 61–89.
Published: 01 May 2022
... Within these discursive terms, incest also provincializes the putative internationalism of world cinema by rescaling its scope within the symbolic parameters of the family, calling attention to the regulatory role patriarchal transmission continues to play beyond the confines of individual nation-states...
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Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 155–160.
Published: 01 December 1989
... of the questionnaire respondent: in both cases we take personal ex- perience as our starting point and generalize from there toward a theory. Theories of female spectatorship place experience somewhere near the center, elaborating a general model for gendered identification in the cinema from the actual site...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 135–143.
Published: 01 September 2012
..., 2011), Suzy Salamy's 1982/2006 (US, 2006), and Moufawad-Paul's Rejoice, O My Heart / يبلق اي حرفا (Canada, 2011) suggest an irreverent queer strategy by undermining the narrative conventions and visual codes of mainstream news media and popular US and Egyptian cinema. Salamy's video, previously...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 233–237.
Published: 01 December 1982
... translation of her paper which was delivered in French. Through an animated combination of structural analysis and “language games” played out through the graphic and phonetic potential of key moments in Breathless, the aim of Ropars’s paper 235 was to extend to the cinema a Derridean...