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Orientalism and ornamentalism

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Journal Article
Camera Obscura (2022) 37 (2 (110)): 1–29.
Published: 01 September 2022
..., “Ethnicity, Class, and Gender in Film.” 54. Miyao, Sessue Hayakawa , 41. pengxin@uw.edu Copyright © 2022 by Camera Obscura Published by Duke University Press 2022 Orientalism and ornamentalism Asian American stars racial performance and accented voice synchronous sound cinema...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
... classical thinkers like Quin- tilian, who held that “ornament must, as I have already said, be bold, manly and chaste, free from all effeminate smoothness and false hues derived from artificial dyes, and must glow with health and vigour.”53 To this disprized Oriental and queer body...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 41–67.
Published: 01 September 2002
... utopian goals and, indeed, address the spectator as a “selfishly interested bystander.” By contrasting the epigraphs of Münsterberg and Kra- cauer, I orient my project around the opposing positions that locate cinema’s artistic value in either unity or disunity, contem- plation or distraction...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 76–101.
Published: 01 May 1994
... on the one side by the ornamental, with its traditional connotations of effeminacy and decadence, and on the other, by the everyday, whose “prosiness” is rooted in the domestic sphere of social life presided over by women. . . . The detail does not occupy a conceptual space beyond the laws...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 83–111.
Published: 01 December 2001
... with the machine age, both in its imagery and graphics. Not only did Deco adopt a rhetoric of the mechanical, it also utilized new modes of fabrication. In its industrial orientation, Art Deco employed synthetic materials like plastic (Bakelite, Lucite, Vitro- lite) and metal (chrome, stainless steel, aluminum...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... Published by Duke University Press 35 36  •  Camera Obscura his writing he exhibits a profound aversion for any architectural gesture that would recall elements of the so-called primitive. In another well-known essay, pithily titled “Ornament and Crime” (1908), Loos categorically...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 262–289.
Published: 01 January 1992
... detail coalesced in the spectacularizing construc- tion of the “ethnographic.” Detail is meant here in three senses. The first sense is detail as document: Regnault writes of the exposition as the site of authentic scientific detail. The second sense is detail as ornament. A good example...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
... visual aesthetics, which are very ornamental, have many elements in one frame with the smallest/marginal elements coexisting with the biggest/normative ones. To me, this aligns with the heteroge- neous and nonhierarchical form that does not reproduce power equations, though it might mirror...
Journal Article
Camera Obscura (2020) 35 (3 (105)): iv–29.
Published: 01 December 2020
..., On Photography (New York: Picador, 1977). 4. Siegfried Kracauer, The Mass Ornament: Weimar Essays, trans. Thomas Levin (Cambridge, MA: Harvard University Press, 1995), 57. 5. André Bazin, The Ontology of the Photographic Image, in What Is Cinema?, trans. Hugh Gray (Berkeley: University of California Press...
Journal Article
Camera Obscura (2006) 21 (2 (62)): 74–107.
Published: 01 September 2006
... of the Depression on the discourse of voca- tion: those who observed this man would fail to recognize in him a distinct type from a society based on labor. Taking the form Sig- fried Kracauer called the “mass ornament,” less a character than a principle of composition, the Forgotten Man was everywhere...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 34–49.
Published: 01 September 1977
... the division of life into work and leisure His passion points to a music of which the mind need not be ashamed . Schoenberg's intolerance of all excess ornament stems from his gener- osity, from his reluctance to have the listener deprived of true riches by ostentation...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 112–147.
Published: 01 September 1985
... d’Estaing who occupies the middle of the picture) was in this instance also a photo opportunity for the striking photog- raphers. That the photograph is now ornamenting my bulletin board after having served as publicity for an art event, after having, quite probably, been reproduced in French...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
..., on spectatorial fantasy. Biller, a Los Angeles-based Japanese American artist, received her bachelor’s degree in fine arts from the University of California, Los Angeles and her master of fine arts in art and film from the California Institute of the Arts. This training certainly has oriented her...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 212–241.
Published: 01 May 1994
...) needs. Certainly, Lifetime staff members believe that the network can deliver pro-social, women-oriented programs. Lisa Nee, a director of original programming, described Lifetime’s mission as providing shows that are “positive and empowering for women. n4 Although the network has produced...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 130–143.
Published: 01 December 1984
... in order not to indulge in ‘ ‘thematic’ ’ or ‘ ‘images of‘ ’ analysis, which characterizes the tradi- tional “content-oriented’ ’ criticism that privileges the Surrealist texts. But in her haste to go beyond Breton and Aragon, and to confine her analysis to writings on film and the image only...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 42–75.
Published: 01 May 1994
..., the first section of this essay considers the network’s strategies for producing the Lifetime identity and the deployment of the “working woman” as an emblematic figure in its predominantly white, heterosexually-oriented (although not exclusive of lesbian appropriation...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 125–155.
Published: 01 December 2004
... unsettling, Safe has also been difficult to place in terms of Haynes’s oeuvre, since it lacks both explicitly gay-oriented content (except for occasional references to AIDS that function as scene-setting coordinates) and his trademark experimenta- tions with genre. Haynes, however, has suggested a strong...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 156–177.
Published: 01 January 1992
... set of issues makes medicine political. With rape and battering on the rise, the assault on reproductive rights continuing to escalate, and little real change from the culture of woman-as-ornamental-object, women in America are still not granted dominion over their own...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... that at once opens up and requires a more thoroughly theoreti- cal interrogation. While emphasizing the hybrid and fragmen- tary nature of archival art (Thomas Hirschhorn, Sam Durant, and Tacita Dean constituting the examples under analysis), Fos- ter suggests that its “orientation . . . is often more...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 6–70.
Published: 01 September 1980
... the film-because narrative-representational film is oriented around the model of secondarization. Rather, what must be determined is how this elaboration operates, how the film presents a certain number of significations connected by the logic of the narrative, the continuity of the sequence...