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in Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 2. Debbie Reynolds performs an approximation of a Hawaiian hula dance as O'Connor and Kelly (from left to right) look on, part of the eruption of a multiracial genealogy of jazz dance in the “Good Morning” number. Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US, 1952)
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Journal Article
Camera Obscura (2021) 36 (2 (107)): 1–31.
Published: 01 September 2021
...Figure 2. Debbie Reynolds performs an approximation of a Hawaiian hula dance as O'Connor and Kelly (from left to right) look on, part of the eruption of a multiracial genealogy of jazz dance in the “Good Morning” number. Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US, 1952) ...
FIGURES
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Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 212–241.
Published: 01 May 1994
...: Myth vs. Reality, produced by the Universe Group,
videocassette, 1993.
29. Lifetime Television, “Debbie Reynolds to Host Women & Hormones:
Myth vs. Reality,” press release, 21 May 1993.
23 8 30. Kate Eby Moore, director of professional communication, Wyeth-Ayerst...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
... typical forms of "self-reflexivity" in backstage musicals which
take place in a theatrical setting (as in Gene Kelly's seduction of Debbie
Reynolds on the studio lot in Singin' in the Rain). These early TV texts
refer to a spectator "outside" of the staged scene, challenging thereby, the
narrow...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 107–147.
Published: 01 May 2002
..., as she samples footage of
Debbie Harry singing “Rapture.” Voice-over, text, music, original
images, and sampled images are woven together to represent the
intertwining of pop culture heroes and Sadie’s own iconic power.
Luke Perry’s image on a poster waves in front of the camera...
