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Sally Potter

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1995) 12 (2 (35)): 186–221.
Published: 01 May 1995
...Scott MacDonald Copyright © 1995 by Indiana University Press 1995 Mimi (Collette Lafont), the protagonist of Thriller (1979), receives a visitation from her alter ego (Rose English). Frame enlargement courtesy of Sally Potter. Interview with Sally Potter Scott MacDonald Introduction...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 98–99.
Published: 01 September 1980
... © 1980 by Camera Obscura 1980 Sally Potter on Thriller Thriller works from and with the opera La Bohhe by Puccini, re- reading it as a text in terms of its narrative, imagistic and musical content. Why choose an opera rather than any other form to work from? Opera...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2018) 33 (2 (98)): 1–39.
Published: 01 September 2018
...Jackie Stacey Sally Potter’s film Yes (UK/US, 2004) stages the political possibilities of cosmopolitanism through the aesthetics of a heterosexual love story whose failures reveal the limit points of such a vision. Read psychoanalytically, cosmopolitan aspirations share with love an idealizing...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 155.
Published: 01 December 1980
... read: The Apparatus: An Introduction. Vol. 1, no. 1; pp. 97-101. The entry under Jean-Louis Baudry should read: The Apparatus: Me tapsychological Approaches to the Impression of Reality. Vol. 1, no. 1; pp. 104-126. Addenda Thriller (Sally Potter) is distributed by Serious Business...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 155.
Published: 01 December 1980
... read: The Apparatus: An Introduction. Vol. 1, no. 1; pp. 97-101. The entry under Jean-Louis Baudry should read: The Apparatus: Me tapsychological Approaches to the Impression of Reality. Vol. 1, no. 1; pp. 104-126. Addenda Thriller (Sally Potter) is distributed by Serious Business...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 154.
Published: 01 December 1980
.... Marguerite Duras: BibliographylFilmography. Vol. 2, no. 6; pp. 50-53. Penley, Constance The Story ofAnna 0.; A Study on Hyrteriu (Terrel Seltzer). Vol. 2, no. 5; pp. 73-79. Potter, Sally On Thriller. Vol. 2, no. 5; p. 99. Rodowick, D. N. Vision, Desire, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 126–129.
Published: 01 December 1984
...Jonathan Rosenbaum © 1984 by Camera Obscura 1984 The GoldDzggers (Sally Potter, 1984) The Gold Dzgg en: A Preview Jonathan Rosen baum Sally Potter’s much heralded British Film Institute production has been encountering a lot of resistance since it premiered at the London Film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 100–110.
Published: 01 September 1980
... 2). At first, we see Rose English in the mirror; she is Laffont’s “Other,” photo 2 Thriller (Sally Potter, 1979) photo 3 106 watching Laffont watching herself. And with the voiceover: “When...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2003) 18 (3 (54)): 177–211.
Published: 01 December 2003
..., and is editing a collection on Eastern and Central European cinemas in new perspectives in the AFI's Film Readers series. Orlando (dir. Sally Potter, UK/Russia/France/Italy/Netherlands, 1992) Twin Pleasures of Feminism: Orlando Meets My Twentieth Century Anikó Imre...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 158–160.
Published: 01 September 1995
... Lifetime’s Feminine Psychographic Space and the “Mystery Loves Com- pany” Series. No. 33-34; pp. 43-76. MacDonald, Scott Interview with Sally Potter. No. 35; pp.187-221. MacDonald, Scott Interview with Cauleen Smith. No. 36; pp. 119-134 McPherson, Tara Disregarding Romance and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 167–170.
Published: 01 December 2006
... decades: Julie Dash, Helke Sander, Rabina Rose, Ana Carolina, Marguerite Duras, Doris Dörrie, Chantal Akerman, Sally Heckel, Sally Potter, Joan Brader- man, Marlene Gorris, Su Friedrich, and Valie Export. Whether or not these film/videomakers were influenced directly by Mulvey’s essay is moot; its...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 153–156.
Published: 01 December 2006
... part of the history of the cinema. Notes 1. When feminist scholars considered experimental work, it tended to be by such filmmakers as Yvonne Rainer, Sally Potter, or Chantal Akerman, whose concerns coincided with those of feminist film theory. Scholars who have attended to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1983) 4 (2 (11)): 120–131.
Published: 01 September 1983
.... Using criteria that were untheorized and explainable only in personal terms, Weiss discussed Sally Potter's Thnller as an exemplary film in which a lesbian aesthetic is at work, as opposed to the other two films. She claimed that Thnller figures the erotic bonding of two female characters to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
... included an essay on Dorothy Arzner’s Christopher Strong (US, 1933);6 and the fifth con- tained work on Sally Potter.7 Alongside this attention to women’s filmmaking practices, the second issue of the journal inaugurated a section titled “Women Working,” which highlighted ongoing work by women...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 235–241.
Published: 01 December 1989
... boys or boys play men, like Big or Field of Dreams, the avant-garde 239 shifted in the mid to late 1970s and 1980s to include women and virtually star feminist film theory in, for example, Sally Potter’s The Gold Diggers (1983) and Yvonne Rainer’s The Man Who Envied Women (1986). In these...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 121–127.
Published: 01 December 1989
... that claim to be made by her, addressed to her. The films of Yvonne Rainer, Sally Potter, Marguerite Duras have been my pri- mary points of reference. Most of what I have asserted here is argued in detail in my forth- coming book Apparatus and Umbra. I suspect that...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
.... Yes, how can you keep those two things going at the same time? I think about The Gold Diggers (dir. Sally Potter, UK, 1983) as the end of something — it was about pushing theory into practice as far as it could go until it was devoid of pleasure for many people — though not for me! Or me...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... period literary adaptations, including Sally Potter’s Orlando (UK/Russia/France/Italy/Netherlands, 1992), Marleen Gorris’s Mrs. Dalloway (UK/US/Netherlands, 1997), and adapta- tions of works by Jane Austen and other canonical female authors. Exploring white women’s experience through the prism of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 197–208.
Published: 01 May 2007
...-Continental distributed Cuban films like Sara Gómez’s De cierta manera (One Way or Another, 1974). Sally Potter’s Thriller (UK, 1979), Chantal Akerman’s Je, tu, il, elle (I, You, He, She, Belgium, 1974), and Helke Sander’s Die Allseitig Reduzierte Persönlichkeit — Redupers (The All- Around...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 76–101.
Published: 01 May 1994
... who is carrying out the investigation-in Sally Potter’s deconstruc- tive Thriller (1979), in Sue Grafton’s mysteries, Sara Paretsky’s V.I. Warshawski novels, Lia Matera’s Laura DiPalma mysteries, Patricia Cornwell’s bestselling tales of a female forensic coroner, in the 1987...