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More Than Meat Joy

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Journal Article
Camera Obscura (2021) 36 (2 (107)): 165–173.
Published: 01 September 2021
... both at the time of her death and in a world forced apart by the novel coronavirus (COVID-19). Copyright © 2021 by Camera Obscura Published by Duke University Press 2021 Carolee Schneemann Judson Memorial Church Newspaper Event More Than Meat Joy Figure 1. Carolee Schneemann...
FIGURES
Journal Article
Camera Obscura (2021) 36 (2 (107)): 151–163.
Published: 01 September 2021
... Animism, Fetishism, and the Uncanny,” Discourse 34, nos. 2–3 (2012): 195. 17. Schneemann, More Than Meat Joy , 93. 18. Schneemann, More Than Meat Joy , 13. 19. Levin perceptively argues that Schneemann, by the time she began work on Snows , had begun to think of the body itself...
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Journal Article
Camera Obscura (2021) 36 (2 (107)): 185–197.
Published: 01 September 2021
.... The sky was full of stars. 4. Dick Higgins and Wolf Vostell, eds., Fantastic Architecture (New York: Something Else Press, 1970), unpaginated. First published as Pop Architektur (Düsseldorf: Droste Verlag, 1969). 5. Carolee Schneemann, “From the Notebooks 1958–1963,” in More Than Meat...
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Journal Article
Camera Obscura (2021) 36 (2 (107)): 129–133.
Published: 01 September 2021
... Schneemann are inextricable from my memories of Judson Church, where I first met her. Yes, bless her: after she realized that the art world powers-that-be were finding her body more noteworthy than her mercurial visual and verbal genius, she started baring that body to provoke them and everybody else...
FIGURES
Journal Article
Camera Obscura (1989) 7 (1 (19)): 24–53.
Published: 01 January 1989
... pessimistically, as little more than confusion which was eventually resolved by the im- position of artistic formulae, particularly through the efforts of Andrei Zhdanov, whose name became virtually synonymous with the rigid requirements of socialist realism. Artistic pluralism was thus abolished...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 175–183.
Published: 01 September 2021
... not or rather could not play Persephone to her mother's Demeter; the painter who could not believe even in the possibility of the figure of artist/mother: “Tell me: what is more forbidden,” she asks, “than the commingling of artist/mother?” 10 I was stunned—and shattered—by the distress, the savage...
FIGURES
Journal Article
Camera Obscura (1999) 14 (3 (42)): 124–159.
Published: 01 September 1999
... for a simpler life; seeing the humor and joy of life; the painful tragedies which cause us to grow but that never leave us. Readers of the novel, from which the film was adapted, would be perhaps even more hard pressed to acknowledge the uncanny/un• heimlich aura of this world which appears sweeter than...
Journal Article
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
... culture that speaks to that experience. Copyright © 2019 Camera Obscura 2019 Close Up Joyless Street trauma melodrama G. W. Pabst H.D. Bryher Figure 1. Die freudlose Gasse (The Joyless Street, dir. G. W. Pabst, 1925) [Nothing] could affect us more than our first film, our introduction, we...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 39–75.
Published: 01 May 2020
... to fostering open- ended communicative possibilities.2 They joined in a ritual that at first sight more resembled the prep- arations for a medical visit than the initiation into an aesthetic experience. After signing up in pairs to take part in the environ- ment, visitors had electrodes attached to their heads...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 149–187.
Published: 01 May 2002
... in this essay how the barnyard animal on television becomes a crucial site for investigating more than how cross-species relations become galvanized through shared experiences with technologies. Because the film postu- lates that specifically visual technologies shape reading practices that are necessary...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 124–160.
Published: 01 September 1993
... the visual flow and intelligibility of Kelly’s text. l7 Perhaps even more significant than the symbolic content of its aluminum semaphores, trophies, and shields is how the stain of the anamorphic mirror so deflects and interrupts the reading process and disempowers the viewer’s visual and linguistic...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
... Counteracting such excess and solipsism, however, Crowe’s professional self-assessment is much more aligned with a sense of perpetual melodramatic “becoming a self” than it is with the notion of “being a star” — a status that the actor finds limiting. In interviews, Crowe is highly critical...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... for Dione Lucas? While house- wives were the traditional intended audience of such shows and may have watched The Dione Lucas Show, they were not doing so during the traditional daytime slot.12 Because Lucas offered a more sophisticated array of recipes than other homemaking shows and because her...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 99–131.
Published: 01 December 2016
... analysis of the potential for current computers (which are more powerful than those available to the Soviet planners of the 1960s) to facilitate a successful reprise of the utopian aspirations Spufford charts.11 Whereas for Spufford the Soviet experiment was a “genuinely promising idea ruined...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 1–31.
Published: 01 December 2013
...Lucy Fischer More than fifty years after the death of experimental filmmaker Maya Deren on 13 October 1961, this essay attempts to grapple with her complex legacy. While numerous scholars have already provided in-depth studies of Deren's films, writings, and biography, this article seeks to take...