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Journal Article
Camera Obscura (2023) 38 (1 (112)): 165–195.
Published: 01 May 2023
... fantasies of national sovereignty. Unsurprisingly, she thereby emerges as an ally to the Trump administration and the racialized hetero-patriarchal capitalism it dramatizes. Refusing the stale constraints of liberal intellectualism, the tough girl teases and frustrates her feely opponents from afar, owning...
FIGURES
Journal Article
Camera Obscura (2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... explores Almodóvar's narrative style through a close analysis of the deployment of coincidence as a device in Talk to Her , a film structured by coincidental meetings and events. Tracing Almodóvar's treatment of coincidence allows us to evaluate and appreciate the classical echoes of his narrative...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 146–153.
Published: 01 December 2011
...Martha M. Lauzen From the release of The Hurt Locker in October 2008 through the Academy Awards ceremony in March 2010, Kathryn Bigelow and her film garnered substantial press attention. An analysis of articles appearing on Bigelow in major English-language newspapers worldwide during this period...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 71–75.
Published: 01 May 1976
...
Torm, her (presumed) lover. (' 'He has seen it a hundred times. ")
The film ends with a 'real performance', a series of imitations of stills
from G.W. Pabst's Pandora's Box or Lulu. The other performers are)ohn
Erdman, ShirleySoffer, Epp Kotkas,)ames Barth, Sarah Soffer, and myself
asdirector...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
...Jane Weinstock Copyright © 1989 by The Johns Hopkins University Press 1989 Women on the Verge of a Nervous Breakdown (Pedro Almodovar, 1988)
Out of Her Mind: Fantasies of the 26th
New York Film Festival
by Jane Weinstock
You could say it was the Year of the Other at the New...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 216–222.
Published: 01 December 1982
...R.S. Hamilton Alfred Guzzetti, Two or Three things I Know about Her: Analysis of a Film by Godard (Cambridge, Mass.: Harvard Univ. Press, 1981) Copyright © 1982 by Camera Obscura 1982
Two or Three Things I Know about Her:
Analysis of a Film by Godavd
R .S. Hamilton...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 65–91.
Published: 01 May 2016
...Alla Ivanchikova This article offers a reading of two recent feature films, Jonathan Mostow's Surrogates (US, 2009) and Spike Jonze's Her (US, 2013), as allegories of the tensions inherent in our collective relation with machines, examining the role technology plays in the constitution...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 61–91.
Published: 01 September 2016
.... Through a close examination of contemporary British ventriloquist Nina Conti's 2012 documentary film, Nina Conti: Her Master's Voice and the Legacy of Six Bereaved Puppets , the article argues that the ventriloquial technique of bifurcation—in which a ventriloquist's lips appear to move out of sync...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 91–117.
Published: 01 September 2022
... Massacre survivor Madam Xia Shuqin's stories are unraveled from the perspective of her beloved granddaughter Xia Yuan, who writes a letter to her son Yuhan, hoping the latter will remember their familial tragedies. The subplot of this documentary follows how the Australian photographer Chris Magee...
FIGURES
Journal Article
Camera Obscura (1996) 13 (1 (37)): 92–122.
Published: 01 January 1996
...Harun Farocki; Kaja Silverman
In Her Place
Harun Farocki and Kaja Silverman
This article is taken from a book-in-progress about eight of Godard's
major films: Vivre sa vie, Le mepris, Alphaville, Weekend, La gai
savoir, Numero deux, Passion, and Nouvelle Vague. In that book...
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in Symmetry, Violence, and The Handmaiden 's Queer Colonial Intimacies
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 2. As Hideko (Kim Min-hee) helps Sook-hee (Kim Tae-ri) lace up her corset in The Handmaiden ( Ah-ga-ssi , dir. Park Chan-wook, South Korea, 2016), the indistinguishable appearance of the backs of their heads alludes to the ambiguity of colonial binaries.
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in Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 1. Carolee Schneemann, Study for Up To and Including Her Limits (1973–76). Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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Published: 01 September 2021
Figure 2. Carolee Schneemann working on the collage flyer for Mink Paws Turret , her show within her West 29th Street loft studio (1962). Photographer unknown
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in The Documentaries of Barbara Hammer: Lesbian Creativity, Kinship, and Erotic Pleasure in the Historical Margins
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 1. Barbara Hammer joyfully dancing on the “Hollywood Walk of Fame” in her autobiographical documentary Tender Fictions (US, 1995).
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in Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 1. Portrait photo of Maria Hirszbein with her dog, Czwartek. © Filmoteka Narodowa – Instyut Audiowizualny
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in Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 2. Group photograph of Maria Hirszbein and her team on the set of 10 Percent for Me ( 10 procent dla mnie , dir. Juliusz Gardan, Poland, 1933). © Filmoteka Narodowa – Instyut Audiowizualny
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in Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 3. Group photograph of Maria Hirszbein and her team on the set of Dotting the I ( Kropka nad i , dir. Juliusz Gardan, Poland, 1928). © Filmoteka Narodowa – Instyut Audiowizualny
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in Looking for Something New: Antonioni's La notte and Specters of Femininity
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 7. Overcoming the resistance of her own body in the very process of its commodification. La notte (dir. Michelangelo Antonioni, Italy/France, 1961)
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in Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2022
Figure 1. Shirin (Desiree Akhavan) despairs over her career. Appropriate Behavior (dir. Desiree Akhavan, UK/US, 2014)
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in Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2023
Figure 1. Joan Allen as Elena Hood, caught shoplifting in her federal eagle cardigan. The Ice Storm (dir. Ang Lee, US, 1997)
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