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The Favourite
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Journal Article
Camera Obscura (2024) 39 (3 (117)): 33–59.
Published: 01 December 2024
...Jacob Myers Abstract Yorgos Lanthimos's The Favourite (Ireland/UK/US, 2018) centers Queen Anne's torturous relationship with two women administrators, seeming to promise clarity about the monarch's sexual history. Instead, the film obliquely addresses British state history while the camera's gaze...
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in Petting the Rabbit: The Favourite (2018), Anti-heritage, and the Search for Lesbians in the Past
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2024
Figure 1. Close-up of Abigail (Emma Stone) pressing a rabbit with her foot. The Favourite (dir. Yorgos Lanthimos, Ireland/UK/US, 2018)
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in Petting the Rabbit: The Favourite (2018), Anti-heritage, and the Search for Lesbians in the Past
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2024
Figure 5. The superimposition sequence where rabbits gradually blot out the cinematic image of the film altogether. The Favourite (dir. Yorgos Lanthimos, Ireland/UK/US, 2018)
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Image
in Petting the Rabbit: The Favourite (2018), Anti-heritage, and the Search for Lesbians in the Past
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2024
Figure 2. High-angle long shots of Anne (Olivia Colman) and Abigail (Emma Stone) sitting on the floor, surrounded by rabbits. The Favourite (dir. Yorgos Lanthimos, Ireland/UK/US, 2018)
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Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 242–261.
Published: 01 May 1994
... . . . coverture; . . . even the
disabilities, which the wife lies under, are for the most part intended
for her protection and benefit. So great a favourite is the female sex
of the laws of England.”12 The assumption that the domestic arrange-
ment of family life is not a political structure but a natural...
Journal Article
Camera Obscura (1992) 10 (3 (30)): 4–33.
Published: 01 May 1992
... favourite Botticelli began throwing Sound thus
releases the aggressivity of the image, turning the relationship between
spectacle and spectator into one of assault and opposition.” Richard-
son applies this paradigm to her analysis of the senses; based on her
“theorem” that “it is impossible...