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Journal Article
Camera Obscura (2022) 37 (3 (111)): 1–29.
Published: 01 December 2022
... up critical questions about gender vis-à-vis production, labor, and computation within both carpets and computers as media interface. [email protected] Copyright © 2022 by Camera Obscura Published by Duke University Press 2022 Iranian diaspora archive remix and (mis)use...
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Journal Article
Camera Obscura (2009) 24 (2 (71)): 43–75.
Published: 01 September 2009
... documentaries frequently focus on women and children in not only the United Kingdom but also in cultures as diverse as Japan, Iran, and nations in Africa. This essay explores four of her most well-known recent documentaries, Divorce Iranian Style (1998) and Runaway (2001), both made in Tehran and codirected...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 91–121.
Published: 01 September 2011
... to Iranian cinema, since this subject has garnered significant attention within the Western academic canon. In his seminal essay, “Veiled Visions/Powerful Presences: Women in Post- revolutionary Iranian Cinema,” Hamid Naficy argues that the insti- tutionalization of modesty in Iran, as formulated...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 145–177.
Published: 01 December 2022
...). Is citing the past of cultural production a way of signaling one's place in the present—or of undermining it? After all, Shirin is the archetypal millennial subject: reaching the end of her twenties and discovering that both professional and romantic success remain elusive. And as a bisexual Iranian...
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Journal Article
Camera Obscura (2012) 27 (2 (80)): 135–143.
Published: 01 September 2012
.... Referencing Bruce LaBruce’s SkinFlick, in which a skinhead masturbates while reading Mein Kampf, the video depicts a young man masturbating to a picture that turns out to be Iranian presi- dent Mahmoud Ahmedinejad. AbuAsad’s video unapologetically confronts viewers with the desiring embodiment...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 41–69.
Published: 01 December 2003
... of theater and French literature; Farah Dakhlallah, a Lebanese studying film at FEMIS in France; and Ghazel, who, as an established Iranian video artist, seemed an odd fit. While the participants in Transit Visa produced one-minute videos during the week, what is most fascinating about the project is its...