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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 (1989) 7 (2-3 (20-21)): 165–168.
Published: 01 December 1989
... “female spectatorship,” the ques- tion of female subjectivity and vision was an issue which, in many ways, occupied the center of my interest in Close Up and H.D. While my work in this area was historiographical in its scope and reference, it dealt with theoretical...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 129–157.
Published: 01 May 1995
... different positions were articulated at the time, the modern was equated with historicism, Meiji instrumentalism, and crass materialism. The problem of retaining modern modes of production in the face of such a critique was, needless to say, not resolved. According to H.D...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 67–79.
Published: 01 September 1988
... mainly a male province too easily accepts the existing canon of modernist work and overlooks the abounding presence of female modernists (from Stein to H.D. to Dorothy Richardson, to name only a few literary exemplars) who challenged the very authority of the male. Huyssen...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 336–372.
Published: 01 December 1989
... of America, 1984. Dolan, Jill. The Feminist Spectator as Critic. Ann Arbor: UMI Research Press, 1988. Doolittle, Hilda [H.D “Projector.” Close-Up. (1927a): 46-51. -. “The Projector 11.” Close-Up. (1927b): 22-33. -. Tribute to Freud. Boston...