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New Day Films

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Journal Article
Camera Obscura (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
...Elizabeth Coffman; Erica Stein New Day Films was formed in 1972 as a feminist media collective to distribute films addressing gender issues. Forty years later, New Day boasts close to two hundred members and yearly distribution profits of $1 million. This article uses New Day's history...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 157–175.
Published: 01 May 1979
... people can still make films. We believe in striving for less and less dependence on government and corporate funding sources and more and more dependence on the people who use your work. New Day Films has been very helpful to us in encouraging us to get involved...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
... organizations under the rubric of “non-­print media,” including WMM.14 A similar volume, also from 1975, listed more than forty feminist film organi- zations around the US.15 Iris Films and New Day Films, for example, were both founded in the 1970s by feminist filmmakers. They still survive, with New...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 197–208.
Published: 01 May 2007
... a lesbian child custody battle, which led to the foundation of Iris Films, a production and distribution company that focused on the lives of lesbians. Other distributors of work by women such as New Day Films and the Video Data Bank were coming into being. Enter Laura Mulvey’s transformative...
Journal Article
Camera Obscura (2019) 34 (3): 1–29.
Published: 01 December 2019
... was dismissed as nonessential to the advancement of post-Mao new cinema in the late 1980s. Post-Mao feminist film scholars have since expressed their disappointment with Zhang’s films due to their incomplete break from the socialist mainstream cinema of the Mao era. This article closely studies Zhang’s most...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 155–189.
Published: 01 September 2002
... Mediation and “Real Time” Strange Days portrays an apocalyptic future that centers on LA’s public sphere, as shown in Lenny’s tour of LA and in the televi- sual representation of New Year’s Eve preparations. Such visual “rumors” of war, unrest, and impending doom circulate through- out most of the film...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 109–153.
Published: 01 September 2002
... represent them in film and visual media) and an essay on body transformation in early cinema. An alien spaceship hovers over New York City in Independence Day (dir. Roland Emmerich, US, 1996). Spectacles of History: Race Relations, Melodrama, and the Science Fiction/Disaster Film Despina...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 161–171.
Published: 01 September 2010
... thing, Martinique and Haiti are plantation societies, and both were colonized by France. I chose Palcy’s film because, for Sugar Babies to be understood by audiences, it was necessary to show the transformation of Africans as slaves in the New World to emancipated people who now endure a new...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 43–75.
Published: 01 September 2009
... of a film’s production (e.g. a film made col- lectively by women) can of itself reflect the conditions of its produc- tion . . . new meaning has to be manufactured within the text of the film” ( Johnston’s emphasis).36  Yet more recently, Juhasz, exploring the female subject-viewer’s mode of reception...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 191–217.
Published: 01 September 2002
... to draw normative subjects out of Strange Days and the Subject of Mobility • 193 their psychic fixity—out of what Silverman will call the “principle of the self-same body”—and induct them into new kinds of hith- erto disavowed identifications (35). I turn to Strange Days insofar...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 141–169.
Published: 01 September 2004
... Conscience, 64. 31. Clara E. Laughlin, The Work-a-Day Girl: A Study of Some Present-Day Conditions (New York: Fleming H. Revell, 1913), 47. 32. Constance Balides, “Making Ends Meet: ‘Welfare Films’ and the Politics of Consumption during the Progressive Era,” in A Feminist Reader...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
...Michelle Langford Camera Obscura 2007 Michelle Langford lectures in film studies in the School of English, Media, and Performing Arts at the University of New South Wales. She is the author of Allegorical Images: Tableau, Time, and Gesture in the Cinema of Werner Schroeter (2006...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
... raged in the entertainment and op-ed pages of the New York Times and film culture journals and little magazines in the early to mid-1960s, and their outcomes effectively determined the common knowledge that to this day permeates Anglo...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 122–152.
Published: 01 December 1980
... other children and adults to support day-care centers and establish new ones. The children are shown that they are capable of tahng care of their own interests. It took 1% years to make the film. I filmed only when the chddren were ready on their own to do what we had wanted...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 137–145.
Published: 01 September 1977
...Chantal Akerman; Christina Creveling © 1977 by Camera Obscura 1977 Women Working CHANTAL AKERMAN News From Home (1976) 16mm; color; sound A film of images of New York City, what you see every day when you live there. Akerman left Belgium one day when she was twenty...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 155–185.
Published: 01 May 2021
... case for investigating how a film's circulation and promotion operate. 3 As a low-budget documentary about a European filmmaker—even a renowned one like Varda—and her new artist friend traveling the French countryside to create large-scale photographic portraits of ordinary people, Visages Villages...
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Journal Article
Camera Obscura (2002) 17 (1 (49)): 189–215.
Published: 01 May 2002
...,” in The Complete Stories of Flannery O’Connor (New York: Farrar, Straus and Giroux, 1986), 286. A Blustery Day for a Baby • 215 14. See Ralph Ellison, Invisible Man (New York: Vintage, 1989), 49–70; and William Faulkner, “Barn Burning,” in Literature, ed...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 61–83.
Published: 01 December 2021
... filmowego w Polsce: Fakty” (“Domination of Jews in the Film World in Poland: Facts”), W natarciu: Jednodniówka do walki o polskość filmu i kina w Polsce ( On the Attack: One-Day Issue to Fight for Polishness of Film and Cinema in Poland ), October 1939, 2–3. 11. “Nowy amant filmu polskiego” (“New...
FIGURES
Journal Article
Camera Obscura (2020) 35 (2 (104)): 159–169.
Published: 01 September 2020
... Women in Film Festival 161 New Moods Arts Festival (1985), Women in Motion (1990 ca. 1996), Out of the Frying Pan (1993), Seen&Heard (2014), Girls on Film Festival (GOFF, 2014 17), and Fem&ist Films (2017 ), few of these events achieved long- term stability.7 Therefore a need existed to create...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 91–117.
Published: 01 September 2022
...: Indiana University Press, 1988), 164. 25. Raya Morag, Perpetrator Cinema: Confronting Genocide in Cambodian Documentary (New York: Columbia University Press, 2020), 179. 26. Dai Jinhua, “Invisible Women: Contemporary Chinese Cinema and Women's Film,” trans. Mayfair Yang, Positions 3...
FIGURES