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Journal Article
Camera Obscura (1977) 1 (2 (2)): 50–66.
Published: 01 September 1977
...Thierry Kuntzel; Bertrand Augst © 1977 by Camera Obscura 1977 Le Defilement: A View In Close Up Thierry Kuntzel FILM: 'Strip offilm used in a movie camera', 'film projected in a movie theater. '1 It is the relationship between these two films which will be discussed here...
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 in...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
...Seth Watter This article examines the simultaneous gendering and pathologization of screen space in two films directed by Anatole Litvak, The Snake Pit and Sorry, Wrong Number (US, 1948), released within months of each other. It focuses on two formal phenomena: the morbid close-up and the curlicue...
Journal Article
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
...Jenelle Troxell This article examines the origin myth of the feminist film journal Close Up , namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse ( The Joyless Street , 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... director humiliates her at an audition by demanding the right to inspect her body, she begins disembodied phone sex work. Most critics of the film either emphasize the main character's growth or observe that her interiority remains unavailable to viewers despite the film's extensive use of close-ups...
Journal Article
Camera Obscura (2019) 34 (3): 31–61.
Published: 01 December 2019
... suspended animation, a form of oblivion from which viewers might not ever escape. 24 Indeed, moments after Chris rescues Tina, the opening in the wall closes up, narrowly avoiding a gruesome outcome: Tina would have been trapped forever, and her father, in his attempt to save her, would have been violently...
Journal Article
Camera Obscura (2003) 18 (2 (53)): 1–25.
Published: 01 September 2003
... be remote and unchanging, while the sound subject will be highly fluid and much more proximal. The intrusion of nearby engine noise, wind, or birds—in auditory close-up—with no new visual presence results in a situation in which the distance from the observer to the observed is simultaneously far...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... and racial identity in the television program 24 . Facial recognition systems (FRSs), in particular, participate in earlier visual discourses of privileged facial imaging such as the close-up and the mug shot, and link them with forms of machine envisioning such as automated rapid facial comparison...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 116–131.
Published: 01 December 2020
... media art, making some of the first and finest digital art installa- When Are You Going to Catch Up with Me? Shu Lea Cheang with Alexandra Juhasz Camera Obscura 105, Volume 35, Number 3 doi 10.1215/02705346-8631583 © 2020 by Camera Obscura Published by Duke University Press 117 I N P R A C T I C E 118...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 149–187.
Published: 01 May 2002
...Susan McHugh Babe (US, 1995) directed by Chris Noonan. Courtesy Universal Studios Bringing Up Babe Susan McHugh Can or should we understand the “anthropological” model of aesthetic practices as separate from Babe? And what methodologies will address these concerns...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 113–135.
Published: 01 May 2007
... Figures Theory.” Previous articles can be found in The Origins of Deconstruction (2006), as well as in parallax, Performance Research , and the Journal of Visual Culture . Wind Up: The Machine-Event of Tape Lynn Turner I’m sorry, so sorry. Please accept my apology. But love is...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 161–195.
Published: 01 May 2010
..., Gunning argues that moving images largely left the gnostic aim behind. In some of the earliest films, known as “facial expression” films, moving images capture close- ups of ordinary events such as a sneeze or a kiss and render them, according to Gunning, objects of “curiosity and amusement”; mov...
Journal Article
Camera Obscura (2020) 35 (3 (105)): iv–29.
Published: 01 December 2020
.... The prox- imity of the camera to Chadha s face, which catches the light in the middle of a sea of protesters, conveys the feeling of being in the crowd and witnessing Chadha s struggle through the relative intimacy of the medium close- up. Yet in functioning through the temporal disjunction conveyed...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 60–87.
Published: 01 December 2020
... (US, 1965). The film, which comments on idealized images of femininity presented on tele- vision and in fairy tales by juxtaposing this view with the reality of the drudgery of domestic labor, cuts back and forth between advertisements of gleaming kitchens and smiling women, and close- ups of crying...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
... , dir. Rakhshan Bani-Etemad, Iran, 1998). A close examination of Islamic, especially Shiʻi, legal theories of the voice is undertaken, in which the female voice is considered part of her ʻawra , or parts of her private body that are deemed shameful and should be veiled or concealed before unrelated men...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... establishes a crucial visual and chromatic symmetry sustained for the remainder of the flm: a closeup of a hand picking up a rife, for instance, is In the Shadow  • 17 Figure 5. Racial gestalt. Suture (dir. Scott McGehee and David Siegel, US, 1993...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 1–27.
Published: 01 May 2010
...Ned Schantz This essay considers the recurring problem of plot alternatives in Alfred Hitchcock, of powerful shadow scenes that overwhelm the manifest plot and demand a critical account of their own. Confronting such shadow scenes, the viewer takes up a social position in a long chain of failed...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 37–61.
Published: 01 September 2020
... more appropriate critical tools and terms to acknowledge black artistic innovations. This essay takes up and reiterates that call, drawing attention to the problems of film interpretation that attend to a version of historical analysis without an understanding of form and medium. Foregrounding film as...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
... electric guitar and a hi- hat). Pattinson steps onto his mark to achieve a brief but emphatic close- up ( g. ) before the lm cuts back to the over- the- shoulder shot of Bella looking at Angela and Jessica in the foreground, with Pattinson strolling from frame left to right, out of focus, in the...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 85–117.
Published: 01 September 2014
... facial expressions incite the camera’s movement, at once concealing her forced physical stillness and cor- roborating the technology’s voyeuristic proclivities, which are again 94  •  Camera Obscura arrested as soon as the tracking shot fixes on her face in a closeup. The streetwalker’s...