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Camera Obscura (2016) 31 (1 (91)): 165–173.
Published: 01 May 2016
...Donna Kornhaber This article positions the work of the feminist animation studio Lift Animation as a corrective to the industrialized processes and gendered hierarchies of traditional commercial animation studios. It examines Lift's unique place in the world of contemporary animation as a studio...
Camera Obscura (2022) 37 (3 (111)): 115–143.
Published: 01 December 2022
... remove—lifted above the action, never puncturing the water's surface. 40 We never venture into the depths. Unlike the accident sequence, in which the camera's materiality was ironically foregrounded by its clunky movements in the smooth, immaterial space of the water, here the camera conceals its...
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Camera Obscura (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
... editing, Hristos presents a series of body parts to the laptop's built-in web camera. First, he leans back, lifting his feet toward the laptop, and we hear a small, satisfied moan from his invisible interlocutor. The next time Tsangari cuts back to Hristo, he lifts his shirt, flexing his abs...
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Camera Obscura (2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
... here have them. Li: At home, our daughters are taught to strap themselves in. Wang: Here, they let themselves . . . out! [He lifts both hands inward toward the chest, then gestures outward from the chest.] Li: Out? . . . Maybe they serve to keep people away from them in crowds. Wang...
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... • Camera Obscura lifting her right hand, places her digital camera in front of her eye to conspicuously point it toward us. 30. On questioning the limits of the human in the context of Western philosophy, see Jacques Derrida, The Animal That Therefore I Am, ed. Marie...
Camera Obscura (1997) 14 (1-2 (40-41)): 243–274.
Published: 01 May 1997
... decloak- ingdemasking her face and body to the curious gaze of her world- wide spectator The horror is not simply in the flesh being cut, after numerous injections with four-inch needles into the side of her head, but in the lifting of the flesh and the insertion...
Camera Obscura (1992) 10 (1 (28)): 156–177.
Published: 01 January 1992
... the import of RU-486 into the U.S.. Representative Ron Wyden (Democrat, Oregon) has been trying to push the FDA to lift its ban, charging that it has bowed to political pressure instead of sticking to criteria of safety and efficacy. He has introduced legislation to lift the ban...
Camera Obscura (2006) 21 (3 (63)): 103–133.
Published: 01 December 2006
... not ordinarily prefer to think efﬁciently; they love to see things as they prefer to see them, rather than as they are. . . . Women have . . . relied far too much on custom and their emotions, with the result that they have not lifted their sphere of labor out of the hard physical drudgery era, as man...
Camera Obscura (1995) 12 (2 (35)): 24–51.
Published: 01 May 1995
... me soldier," says Jude (Miranda Richardson) to Jody as she lifts her arms towards him at the fairground, and with this seductive hail both pinpoints his place within an ideological system, and, in a literalization of that Althusserian formulation, seals his narrative fate...
Camera Obscura (1992) 10 (1 (28)): 206–237.
Published: 01 January 1992
... requested techniques of cosmetic surgery included face lifts, nose reconstructions, tummy tucks, liposuction, skin peels, and hair transplants-surgical techniques that are specifically designed to counteract the effects of gravity and natural body deteri- ~rationMore than...
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
... to make sense as the chase sequence unfolds. While the camera tracks Marichka, Kee, and Theo from the back, they run directly into a scene lifted from news imagery of a Palestinian or possibly Iranian march, complete with a dead body being carried. The loss of the referent here is precisely...
Camera Obscura (1990) 8 (1 (22)): 50–72.
Published: 01 January 1990
... tenet, by contrast, was to lift cinema above the relative un- predictability of a local performance, to integrate the process of nar- ration in the film as product and commodity, so as to standardize and precalculate empirically variable acts of reception.16 56 The transition from early...
Camera Obscura (1980) 2 (2 (5)): 6–70.
Published: 01 September 1980
... integrity: the integrity of his vision, his “psychology,” his “morals” and his categories. Privileged character, Rainsford: when he knocks on Zaroff‘s door, the credits shots are repeated almost1s identically. (Photo C): Rainsford (seen from behind) lifts the knocker. (Photo D...
Camera Obscura (2020) 35 (1 (103)): 39–75.
Published: 01 May 2020
... lesson, lifting him up from a pot, which supposedly served as his bathtub (fig. 6).21 Through an adroit game of make- believe infused with glissando speech variations and high- pitched tones typically associated with baby talk, the artist delivers a first lesson in self- identification through visual...
Camera Obscura (1996) 13 (1 (37)): 187–237.
Published: 01 January 1996
... stereotypes as being governed by genetic laws of reproduction?" I return to the chair. Pursuing etymological inquiry further, the OED continues: "Stereo" comes from the Greek stereos: "hard," "solid," "firm," "stiff." Our eyebrows lift as we notice how "stereo" is also...
Camera Obscura (1989) 7 (2-3 (20-21)): 40–52.
Published: 01 December 1989
... multi-fold in the context of an article dealing with issues of subjectivity and national identity. I’ve lifted this phrase from a fill-in-the-blank contest that ran a number of years ago in a Canadian magazine. The phrase to be completed was “As Canadian...
Camera Obscura (2003) 18 (1 (52)): 129–155.
Published: 01 May 2003
... made. Like Rose Hobart and Bontoc Eulogy, Mother Dao has the classic properties of interruption of a found footage ﬁlm outlined by William Wees: It lifts the original travelogue and colonial documen- tary out of its original context, thus exposing its ideological mean- ings...
Camera Obscura (1991) 9 (1-2 (25-26)): 41–72.
Published: 01 September 1991
... plays a light-hearted drifter who hits a Kansas town one summer day, lifting the spirits of many of its people (especially the women). . * . At the annual picnic . . matters come to a climax. . . . And the picnic’s last hours also bring Holden to a moment of decision” (Graves...
Camera Obscura (1986) 5 (3 (15)): 137–164.
Published: 01 December 1986
..., by contrast, oblique spotlights play over the buildings’ naked facades and seem to lift or remove their skin; the moving spot- lights weave the fabric of the city and, from the film’s opening moments, suggest a stripping, skinning, or peeling away. The city is sealed, closed in on itself, like...
Camera Obscura (2012) 27 (3 (81)): 101–135.
Published: 01 December 2012
... in loincloths — approach the central pair from various points offscreen. They help the rst gure lift the initiate into the air, as choral music momentarily swells on a sound track that otherwise presents only the sound of wind and of feet moving through the brush. After the initiate has been set...