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German women’s movement

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2018) 33 (3 (99)): 1–19.
Published: 01 December 2018
... study for considering women’s filmmaking in neoliberal times because of its centrality to the development of feminist film theory at an earlier historical moment in the 1970s. Reframing the history of the West German feminist film movement, the introduction considers the unfolding of new practices of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2018) 33 (3 (99)): 129–145.
Published: 01 December 2018
...Hester Baer; Angelica Fenner In this conversation, which took place in Berlin, Ger­many, in August 2017, filmmaker Tatjana Turankskyj discusses recent developments in Pro Quote Film, the feminist initiative she cofounded with several other women filmmakers to promote gender parity in German film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1990) 8 (1 (22)): 73–89.
Published: 01 January 1990
...Heide Schlüpmann Copyright © 1990 by The Johns Hopkins University Press 1990 Melodrama and Social Drama in the Early German Cinema Heide Schliipmunn During the period from 1911-12, film producers made a determined effort to adapt the cinema to the aesthetic cosmos of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2000) 15 (2 (44)): 1–39.
Published: 01 September 2000
... more likely to get hit by an A-bomb than find a man.” As the women chart their way through these troubled waters, hilarity ensues. The German films Abgeschminkt, das Superweib [The superwife] (dir. Sönke Wortmann, 1996), Ein Mann für jede Tonart [A man...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2003) 18 (3 (54)): 3–38.
Published: 01 December 2003
... Women’s Video Festival, this genre was, in Julia Lesage’s phrase, “the artistic analogue of the structure and function of the CR group.”12 Because the critique of domestic space so central to the women’s art movement developed simultaneously with the dis- cipline of feminist art and film history...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... women’s sig- nificant presence in media throughout the 1970s and 1980s: the The World and the Soup  •  127 West German women’s movement; German television’s engagement with social issues (feminist among others) and the creation of pro- gramming structures to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... that of personal testimony — they are, after all, the words of apparently ‘ordinary women’ remembering the past. As in many films that advance issues raised by the women’s movement, there is an emphasis on individual but politically significant experience.”25 Julia Lesage states, “Biography...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 107–137.
Published: 01 September 2009
... wide fissure between tradition and modernity as absolute contradictions, at least on the material level. Hence, her search for identity concen- trates on metaphysics.”9 European audiences similarly questioned the protagonist’s turning away from material concerns, a German reviewer...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1983) 4 (2 (11)): 132–145.
Published: 01 September 1983
... participated in Berlin student politics during the late sixties and early seventies, the time during which the German Women's Movement began to emerge. Anni has a child, leaves her husband, takes on professional responsibilities, moves into a collective apartment, and becomes...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 122–152.
Published: 01 December 1980
... States have relied on Leontine Sagan’s 1932 feature Midchen in Uniform to represent the German contribution. There are feminist filmmakers in West Germany. Indeed, already in 1968, before the recent German women’s movement even gained mo- mentum, two filmmakers-Erika Runge and Ula Stoeckl...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2002) 17 (1 (49)): 73–105.
Published: 01 May 2002
... Modern. —Eugen Wolff When Eugen Wolff used these words in 1888 to define die Mod- erne, he reflected an attitude about women, modernity, and motion that can be traced for several decades throughout Europe and the United States, in art movements and critical discourse, in painting, photography...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
... “closed cosmos” of the present that it interrupts, and thus allowing its West German viewers to see the potential threats to come, to pull the brakes on the forward movement of catastrophe themselves. In some ways, the flashback sequence becomes an exercise in picking up on the visual and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 128–139.
Published: 01 May 1976
...". With her husband Werner Nekes, founded the Hamburg Film Co-op (no longer in existence), an attempt at independent distribution modelled on the American film co-ops. She is one of the remaining major figures of German experimental filmmaking: many of her generation have gone into political work...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1985) 5 (1-2 (13-14)): 215–234.
Published: 01 September 1985
...Lynn Spigel Copyright © 1985 by Camera Obscura 1985 Detours in the Search For Tomorrow: Tania Modleski’s Loving with a Engeance: Mass-Prodgced Fantasies for Women Lynn S’igel Loving With a Vengeance’ is an attempt to locate a collective feminine fantasy in ‘mass-produced...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 111–135.
Published: 01 December 2008
... a similar switch by the characters identified as the German nihilists (Peter Stormare, Flea, and Torsten Voges): “Give us the money, Lebowski, or we cut off your Johnson!” We might read this as entailing that the Dude acknowledge the lack of the other — that is, admit to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... of funding, produc- tion, and distribution. The Minor Transnationalism of Queer Asian Cinema  • 39 Paying particular attention to these questions of the global movement of capital and the reception of queer women’s cinema, White considers how lesbian filmmakers deploy...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... subject. It swiftly tilts down and tracks right to capture the danc- ing legs as they pass, leading us to another woman huddled on the floor and praying in German. While the camera briefly pauses, regaining its breath with this specimen of piety, the nimble legs make a circle around the prostrate...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 85–117.
Published: 01 September 2014
... fantasies of a German terrorist attack on New York City depicted in the antipacifist First World War melodramaThe Battle Cry of Peace (dir. Wilfred North, US, 1915) — later remade as Womanhood, the Glory of the Nation (dir. J. Stuart Blackton, US, 1917) after America’s entry into the war...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... tradition of landscape rep- resentation. Melodrama’s drive to make the world “morally legible” is just as germane to wilderness settings as urban ones, and as Leave Her to Heaven  demonstrates, outdoor landscapes can efficiently signal the inflated but repressed emotions characteristic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2017) 32 (3 (96)): 93–119.
Published: 01 December 2017
... novella, Holly is not especially keen to settle down with a person of color. It is quite the opposite: one of her love interests is Rusty Trawler, whom “Winchell always referred to . . . as a Nazi” because “he attended rallies in Yorkville” (37), a predominantly German neigh- borhood in Manhattan...