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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...
Camera Obscura (2015) 30 (2 (89)): 1–27.
Published: 01 September 2015
... choreographer but also as a backup dancer, pop singer, and actress. During the late 1960s she appeared in a num- ber of significant New Hollywood productions, many produced by Bob Rafelson’s production company, Raybert/BBS Productions. She played a prostitute in Dennis Hopper’s first two directorial...
Camera Obscura (2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
... that Hollywood gives to the term, Luhrmann (mis)translates it as such and then proceeds to use this other cinematic form as the basis for “providing a new vernacular for the musical” in the West. Created in this mix of admiration, misunderstanding, and bri- colage, Luhrmann’s homage to Bollywood arrived...
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...
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. ...
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...
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...
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...
Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
...- and- white- striped blouse, it also altered the biography to acknowledge her new marriage while awkwardly keeping Durbin’s parents in the picture: “One of the loveliest weddings in Hollywood was that of Deanna Durbin and the young director Vaughn Paul, on April Originally planned for June...
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...
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...
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...
Camera Obscura (1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
... bound Hollywood 50 stars to their fans. Television representations of the Hollywood star as well as radio's representations before them, reflect a decay in aura" once they have been transferred to the new broadcast media. This study focuses on the television comedy variety...
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...
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...
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...
Camera Obscura (1988) 6 (3 (18)): 137–145.
Published: 01 September 1988
...Richard Allen Brushing Classical Hollywood Narrative Against the Grain of History Richard Allen Dana Polan, Powerand Paranoia: History, Narrative and the American Cin• ema, 1940-1950 (New York: Columbia University Press, 1986) Dana Polan's study of American cinema of the forties...
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...
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...
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...