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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...
View articletitled, <span class="search-highlight">New</span> <span class="search-highlight">Day</span> <span class="search-highlight">Films</span>, Digital Distribution, and Collective Aesthetics
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for article titled, <span class="search-highlight">New</span> <span class="search-highlight">Day</span> <span class="search-highlight">Films</span>, Digital Distribution, and Collective Aesthetics
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
... change. A compendium of feminist media
sources published in 1975 listed more than seventy 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...
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...
View articletitled, Spectacles of History: Race Relations, Melodrama, and the Science Fiction/Disaster <span class="search-highlight">Film</span>
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for article titled, Spectacles of History: Race Relations, Melodrama, and the Science Fiction/Disaster <span class="search-highlight">Film</span>
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 (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...
View articletitled, Documenting Modern-<span class="search-highlight">Day</span> Slavery in the Dominican Republic: An Interview with Amy Serrano
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for article titled, Documenting Modern-<span class="search-highlight">Day</span> Slavery in the Dominican Republic: An Interview with Amy Serrano
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 (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...
View articletitled, Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini's The <span class="search-highlight">Day</span> I Became a Woman
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for article titled, Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini's The <span class="search-highlight">Day</span> I Became a Woman
Journal Article
Camera Obscura (2021) 36 (1 (106)): 155–185.
Published: 01 May 2021
... the final days of the awards cycle for Visages Villages , the circulation of Varda's unique image resulted in her recognition as a style icon by mainstream American press, bringing attention to the film from new outlets and building awareness in potential new audiences. Like Varda's lighthearted treatment...
FIGURES
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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 (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
... are the narrative
and stylistic foci of Carol Law’s The Reincarnation of Golden Lotus.
Opening with a hallucinatory sequence in which a beheaded woman
refuses to drink a potion to forget her current life in order to begin
her new reincarnation, Law’s film interweaves images of present-day
China...
View articletitled, Remembering History: <span class="search-highlight">Films</span> by Women at the 1989 Toronto <span class="search-highlight">Film</span> Festival
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for article titled, Remembering History: <span class="search-highlight">Films</span> by Women at the 1989 Toronto <span class="search-highlight">Film</span> Festival
Journal Article
Camera Obscura (2021) 36 (3 (108)): 61–83.
Published: 01 December 2021
... 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 Lover of Polish Film”), Wiadomości filmowe ( Film News ), no. 1...
FIGURES
Journal Article
Camera Obscura (2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
... Rich is professor of film and digital media at the University of California, Santa Cruz, where she also directs the Social Documentation MA Program. She is the author of Chick Flicks: Theories and Memories of the Feminist Film Movement (Duke University Press, 1998) and New Queer Cinema...
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 (2022) 37 (2 (110)): 91–117.
Published: 01 September 2022
... Voice in Psychoanalysis and Cinema (Bloomington: 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...
FIGURES
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
...”
in the New Russian Cinema:
Youth and Valeria Gai Germanika’s
Films and Television
Julia Vassilieva
When five members of Pussy Riot, a Russian feminist punk rock
protest group, staged a performance in Moscow’s Cathedral of
Christ the Savior on 12 February 2012, the world was offered...
View articletitled, “Becoming-Girl” in the <span class="search-highlight">New</span> Russian Cinema: Youth and Valeria Gai Germanika's <span class="search-highlight">Films</span> and Television
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for article titled, “Becoming-Girl” in the <span class="search-highlight">New</span> Russian Cinema: Youth and Valeria Gai Germanika's <span class="search-highlight">Films</span> and Television
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