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New Hollywood

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Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
... screening in the Tokyo Kinema movie theater. The actors pictured are Okada Yoshiko, right, and Tanaka Kinuyo, left. Reprinted from Toyo Cinema Weekly, 9 February 1933. New Women of the Silent Screen: China, Japan, Hollywood Catherine Russell The movie screen here is not simply...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 1–27.
Published: 01 September 2015
...). She is preparing a book manuscript on Bruce Conner's experimental films. © 2015 by Camera Obscura 2015 experimental cinema rock and roll pop music dance film New Hollywood Figure 1. Still from BREAKAWAY (dir. Bruce Conner, US, 1966). 16 mm film, b/w, sound, 5 min. Courtesy...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
...  •  Camera Obscura because we understood everything.”1 Luhrmann believes that Bol- lywood, simultaneously exotic and intelligible in its meshing of genres, might offer a model for the emergence of a new global cinema.2 Though a Bollywood film is not a “musical” in the sense that Hollywood gives...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
... finally contributes to film theory, and feminist film theory in particular, by demonstrating how New Iranian Cinema, largely owing to the Shiʻite logic of the veil or system of modesty, reverses the voice in classical Hollywood cinema, in which the female voice is often synched up to the body while...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 125–157.
Published: 01 December 2013
... a series of dance and sexual performances as well as personal interviews with the director that often evolve into sexual encounters. Drawing on the formal structures identified with French New Wave filmmakers such as François Truffaut, Jean-Luc Godard, Jean Rouch, and Edgar Morin and with the classical...
Journal Article
Camera Obscura (1996) 13 (2 (38)): 188–189.
Published: 01 May 1996
... of Minnesota Press, 1996. $49.95. Vision, Race, and Modernity: A Visual Economy ofthe Andean Image World by Deborah Poole. Princeton University Press, 1997. $69.50. Whom God Wishes to Destroy: Francis Coppola and the New Hollywood by Jon Lewis. Duke University Press, 1995. $23.95. ...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 75–117.
Published: 01 September 2010
... in Hollywood, she exploited the new possibilities of mass media—films, paperbacks, newspapers, and magazines—to simultaneously promote herself and her sexual agenda. Furthermore, she used her films to eroticize cinematic structures of spectatorship. Laura Horak is a PhD candidate in the Department of Film...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
.... Marianne Sinclair, Hollywood Lolita: The Nymphet Syndrome in the Movies (London: Plexus, Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Henry Holt, Catherine Clément, Opera, or The Undoing of Women, trans. Betsy Wing (Minneapolis...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 139–159.
Published: 01 September 2009
...K K Seet The rarely analyzed Asian horror film, which has had great impact on international film audiences recently as a result of Hollywood remakes, is increasingly mired in the milieu of home and hearth, leading to a new Asian variation of the domestic gothic. With specific reference to Japan's...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 4–40.
Published: 01 September 1993
... of Melanie Klein (New York: Basic, 1964). 33. On capitalism-as-prostitution, see my “Troping Prostitution: Two or Three Things about (Post-) MarxismReminism,” Genders 12 (Winter 1991): 120-139. 34. On the “double dramatic form” of classical Hollywood narrative (where one of the lines...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
... renaissance era of 1967 – 75, whose male mavericks, like Arthur Penn and Terrence Malick, have been similarly cast as forging an adventurous new cinema that linked the traditions of classical genre filmmaking with the stylistic innovations of European art cinema. Both the New Hollywood and indie...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 109–153.
Published: 01 September 2002
... success. For a discussion of the production process and budget demands of blockbuster films, see Thomas Schatz, “The New Hollywood,” in Film Theory Goes to the Movies, ed. Jim Collins, Hilary Radner, and Ava Preacher Collins (New York: Routledge, 1993), 8–36. 13. For a more detailed...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
... transferred to the new broadcast media. This study focuses on the television comedy variety show and musical variety show which featured guest stars from Hollywood. These formats represent two arenas of nostalgic return, not only to earlier entertainment traditions (to vaudeville...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 159–195.
Published: 01 December 2001
... was between the passive, pure ideal woman of the late 1800s and the New Woman of the 1920s, the vamp of Hollywood silent film has ties to both stereotypes. In this article I briefly consider these relationships and then examine the career of Pola Negri—one of the actresses most associated with vamping...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 133–175.
Published: 01 September 2001
... is a French film not really French? . . . When it’s La Femme Nikita. —Caryn James, “Word from Nikita: Hold the Subtitles,” New York Times (5 May 1991) Europe is trying to make movies like Hollywood, heaven help us all. Style over substance, technology over artistry, box office over everything. —Bill...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 159–191.
Published: 01 December 2005
..., constitutes the beginning of our strategic repositioning of Anna May Wong’s pio- neering legacy. Notes 1. Anthony Chan, Perpetually Cool (Lanham, MD: Scarecrow, 2003); Graham Russell Gao Hodges, Anna May Wong: From Laundryman’s Daughter to Hollywood Legend (New York: Palgrave...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 137–145.
Published: 01 September 1988
...Richard Allen Dana Polan, Power and Paranoia: History, Narrative and the American Cinema, 1940–1950 (New York: Columbia University Press, 1986) Copyright © 1988 by The Johns Hopkins University Press 1988 Brushing Classical Hollywood Narrative Against the Grain of History...
Journal Article
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
..., the package-unit system of film production that would become Hollywood s modus operandi in the 1960s. In the early television industry (centered in New York as opposed to Hollywood), women were outstripped as journeyman writers and publicly grappled with their failure to conform to a male screenwriter type...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 41–72.
Published: 01 September 1991
... Hollywood Taught Us to Stop Worrying and Love the Fifties . New York: Pantheon, 1983 . Brien , Alan “Mr. Holden is the Magnet.” London Evening Standard 9 Feb. 1956 : 7 . Brien , Alan “Bombs, H and K.” Newsweek 31 Aug. 1953 : 57 . Butler , Judith Gender Trouble: Feminism...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
... (Princeton, NJ: Princeton University Press, Peter Biskind, Seeing Is Believing (New York: Pluto, Cohan, Masked Men, Jackie Byars, All That Hollywood Allows: Re- reading Gender in s Melodrama (Chapel Hill: University of North Carolina Press, Marcia Landy, ed...