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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 for...
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...
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
... for Best Actress in Despite these high- art honors, in four lms proposed by Eiren, the national lm producers’ association, all fell out of the competition while Secrets remained. Eiren responded by threatening a boycott and express- • Camera Obscura Table 1. Nikkatsu Roman Poruno...
Camera Obscura (1996) 13 (3 (39)): 34–51.
Published: 01 September 1996
... Children accepts the pornographic, the slightly 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...
Camera Obscura (2005) 20 (3 (60)): 159–191.
Published: 01 December 2005
... Review of Film and Video, Intersections: Gender, History and Culture in the Asian Context , and Film Quarterly . Wong’s dragon lady costume was condemned by Chinese nationalists and raved about in American publicity writings. The Art of Screen Passing: Anna May Wong’s Yellow Yellowface...
Camera Obscura (2002) 17 (1 (49)): 73–105.
Published: 01 May 2002
... 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 the object of a voyeuristic gaze; her...
Camera Obscura (1991) 9 (3 (27)): 148–165.
Published: 01 September 1991
... have followed strategies 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...
Camera Obscura (2003) 18 (3 (54)): 99–117.
Published: 01 December 2003
... those performances in which no threat to life takes 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...
Camera Obscura (1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
... upcoming Democratic Convention. What becomes evident is how easily work like Almy’s latest high-tech pieces can move across the often imperceptible boundary between commercial TV and video art. The Early Work In Almy ’s earlier, multi-monitor performance pieces, and...
Camera Obscura (2001) 16 (3 (48)): 83–111.
Published: 01 December 2001
... metal (chrome, stainless steel, aluminum, and wrought iron). Characteristically, Art Deco was known for its streamlined, geometric, and symmetrical patterns—traits associated with the industrial age. In keeping with Deco’s stark high-tech facades, color was often reduced to the basics: black, white...
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
.... Olivier Assayas, France, 1996). As is evident from the titles in the list, the series leaned heavily toward European art cinema, which has not only produced a high proportion of such metafilms, but has always been one of the mainstays of contem- porary...
Camera Obscura (2011) 26 (3 (78)): 63–93.
Published: 01 December 2011
...Adair Rounthwaite This article develops the concept of “the masturbatory” as a way of theorizing performance art and performance studies' recent turn to reperformance. In reperformance, previous performance artworks — often from performance art's “classic” era of the 1970s — are reenacted, creating...
Camera Obscura (1988) 6 (3 (18)): 42–51.
Published: 01 September 1988
... Schroeter, that great stylist of the sexual and social disphasure of identity and narrative. Ottinger's films exhibit the anti-natural polish of high-fashion advertising, and her characters are abstracted, self-styled outsiders who seem to parade their status as Different. Personal and social identity...
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 as...
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... 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, they are appraised as offering “emotionally powerful drama.”20...
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... filmmakers exploit what I term the audience's cruel knowledge about actresses in order to position the films in relation to the other art forms associated with their actresses (ballet and pornography). Building from the premise that spectacle and excess are necessary to both celebrity and cruelty, I argue...
Camera Obscura (2008) 23 (3 (69)): 81–109.
Published: 01 December 2008
... understand the historical and contextual significance of these questions, I situate Benglis' video at the intersection of three visual histories in the US: that of early video art, seventies feminist art, and mass culture pornography. Although Benglis is primarily a sculptor, she turned increasingly to video...
Camera Obscura (2021) 36 (1 (106)): 187–213.
Published: 01 May 2021
... installations, numerous smaller ones, and new photographic works, which have been shown in over twenty solo exhibitions and countless group exhibitions in museums, galleries, and art biennials all over the world. This article gives an overview of her installation art and examines how Varda's installations take...
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... and were contexts wherein thrift and pleasing and feeding family members were paramount. Lucas was unconventional in her exhortations, adamantly advocating that the traditional female province of cooking be embraced as an art and an outlet for creative expression. In this way, she exhibited unusually...
Camera Obscura (2016) 31 (3 (93)): 65–97.
Published: 01 December 2016
... works and the processes behind them contribute to debates on participatory or processual art in the twenty-first century. Figure 1. A screenshot of the crowdsourcing campaign Web page for Daniel Perlmutter’s “Unwritten Masterpiece” project, first launched in 2012 Collective Writing Projects...