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High Art

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Journal Article
Camera Obscura (1993) 11 (1 (31)): 26–47.
Published: 01 May 1993
...Edith P. Thornton Copyright © 1993 by Indiana University Press 1993 On the Landing: High Art, Low Art, and Upstairs, Downstairs Edith P. Thornton Originally conceived in 1969 by two actresses, Jean Marsh and Eileen Atkins, Upstairs, Downstairs began as a series idea...
Journal Article
Camera Obscura (2019) 34 (3): 97–125.
Published: 01 December 2019
...Lee Wallace Lisa Cholodenko’s three films High Art (US, 1998), Laurel Canyon (US, 2002), and The Kids Are All Right (US, 2010) all tell the same story: a sexual and emotional ingenue arrives in a tightly circumscribed social world that both resembles and departs from a conventional family. At its...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
...Jane Feuer This essay attempts to break down a binary opposition between “quality TV” and reality TV, which is usually set up along an axis of distinction based on aesthetic value. That is: HBO dramas are art; reality TV shows are trash. As Misha Kavka writes, “Because reality television is seen...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 111–135.
Published: 01 May 2014
... previous two feature films — High Art (US, 1998) and Laurel Canyon (US, 2002) — both premiered at Cannes and were critically acclaimed on the festival circuit. High Art won the Waldo Salt Screenwriting Award at the Sundance Film Festival, and Ally Sheedy won the National Society of Film...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 67–79.
Published: 01 September 1988
... and postmodernism but is not invoked in this subtitled trinity - Modernism on one side of Mass Culture, Postmodernism on the other-is the "avant-garde." This collection of essays details, in brilliant relief, the recurring segregation of high art and mass culture, intends to account for the longevityof...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 191–202.
Published: 01 January 1988
... the seriousness with which the high-art critic defends hislher culture against the supposed cor• ruptions of the masses. It is not surprising in such a context that Ang employs similar high-art cliches in her understanding of the operations of mass culture. Thus...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 130–137.
Published: 01 January 1990
..., in ways that could only appear scandalous to dominant art history and the political powers it worked to uphold. Interpreting erotic art in terms of high art codes was thus a way of denying the physical, denying the material, denying even the popular. But what...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 158–160.
Published: 01 September 1995
..., and the Televisual Audience. No. 33-34; pp. 243-261. Thornton, Edith P. On the Landing: High Art, Low Art, and Upstairs, Downstairs. No. 31; pp. 27-48. Torres, Sasha War and Remembrance: Televisual Narrative, National Memory, and China...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 215–234.
Published: 01 September 1985
... is often thought to reflect directly the social and fantasy life of women. She argues that ‘‘these fantasies. . . do not employ as elaborately as ‘highart the psychological and formal devices for distancing and transforming the anxieties and wishes of readers” (p. 31). This claim, common to mass...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 73–105.
Published: 01 May 2002
... of her body in motion, but also emanates from Fuller’s deliberate “technologizing” of her body and her appropriation of the meta- phors and methods of both high art and science. She represents an important transitional point in representations of women in motion. Fuller was never simply...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 148–165.
Published: 01 September 1991
... borrowed from film theory. For example, in order to question modernist art history’s dismissal of mass culture as high art’s antipodal, degraded, feminine “other,” feminist art historians draw on film theory’s recognition of the potentially critical and active spectatorial...
Journal Article
Camera Obscura (1996) 13 (3 (39)): 34–51.
Published: 01 September 1996
... more tasteful soft- core erotic, the masquerade of high-art pretensions, and the potential abuse of women-and children-by predatory voyeurs and poseurs as part and parcel of the messy business of growing up and making choices. What proves to be the visceral heart of the film...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 4–23.
Published: 01 January 1989
.... Questions of differentiation are organized in spaces coded to represent “high art,” and good taste, which are estab- lished in contrast to the menace of the common, the vulgar, the popular and the “lower class.” These ambivalent cinematic constructions of sexual difference...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 177–211.
Published: 01 December 2003
... Orlando generously draws on the Brechtian techniques employed by feminist countercinema and further asserts its affinity with a feminist tradition of modernist high art by adapt- ing Virginia Woolf’s novel to the screen.36 Yet it also rediscovers narrative pleasure as an indispensable political tool...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... a conflation with negatively feminized discourses, including genre and emotion. Bier’s directorial image and her films sit in an indetermi- nate zone. Her films are most favorably assessed when they are understood as popular cultural artifacts rather than high art. In this context...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 28–49.
Published: 01 January 1990
... with the aura of high art. The design of the curriculum was also informed by quasi-scientific analyses of the film audience which emerged in this period. Published in 1933, the Payne Fund Studies, among the first-audience effect studies in the field of mass communications, significantly altered...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
... fashion trends. Master Daizaburo¯ met the rising star at Nikkatsu’s Uzumasa studio, where he worked as a production designer (75). This screen and the anecdotes surrounding it showcase a fascinat- ing culture in which the boundaries between high art and mass culture, and the traditional...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 34–49.
Published: 01 September 1977
... The document of civilization-i.e. the music-is at the same time the trace of barbarism , of anti-semitism: it is through the reference to Brecht that the relation between music as high art to be reverenced, and mass murder, concentration camps, is clarified. But there is a third level, and to my mind...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 99–117.
Published: 01 December 2003
... place. I want to insist then that what fascinates us here is no mere dressing up of the parlors of sadomasochism as respectable spaces of high art, even though, of course, on some level that is precisely what is happening. Rather, I wish to argue that Abramovic´’s per- formances and her...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 155–168.
Published: 01 May 1988
..., in polemical opposition to aestheticist defenders of high art, that a utopian element lurks in even the most transparently reified object of late consumer capitalism. In the first volume of Capital, Marx had contended that a certain movement of reification was built...