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The Kids Are All Right

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Journal Article
Camera Obscura (2014) 29 (1 (85)): 111–135.
Published: 01 May 2014
...Jodi Brooks The Kids Are All Right (US, 2010) is Lisa Cholodenko's most commercial film to date and has been the most divisive in its reception. Pitched as a film of and for the times, the film has been celebrated for its portrayal of a lesbian family unit and taken to task for its homonormativity...
Journal Article
Camera Obscura (2019) 34 (3): 97–125.
Published: 01 December 2019
...Lee Wallace Lisa Cholodenko’s three films High Art (US, 1998), Laurel Canyon (US, 2002), and The Kids Are All Right (US, 2010) all tell the same story: a sexual and emotional ingenue arrives in a tightly circumscribed social world that both resembles and departs from a conventional family. At its...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 169–177.
Published: 01 January 1988
..., with its focus on neighborhood crimes, and a protective concern for their children: What's going on in the world? I don't understand it all, so I don't like to listen to that. I watch-like those little kids-that gets to me. I want to know about it. Or if there's...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 128–153.
Published: 01 January 1988
... ground any unified position. It is then no surprise that melodrama, television and postmodernism, which all share this particular construction of flattened space and weightless time, have been linked to the dissolution of a stable site of mastery, the ideal of masculinity. They are thus aligned with...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
... Busse and Alexis Lothian demonstrate the contentious relationships that can develop when fanvids enter the realm of academic discourse. All four authors are themselves fans and academics, practitioners and theorists who continually negotiate the artistic, political, legal, academic, and communitarian...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 33–63.
Published: 01 December 2014
... Citing King might seem like an odd mode of criticism within the antibusing movement, but McCabe and her followers 40  •  Camera Obscura drew freely from the language and protest tactics of the civil rights, black power, and antiwar movements. “Martin Luther King walked all over and he got a...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 157–191.
Published: 01 May 2012
... protest against gendered and racial inequalities prevalent in postcolonial Cuba. This article highlights the film's feminism, which is inextricably linked to the representation of performance that is fundamental to all versions of Carmen . Revolving around the figure of the racialized female Cuban rumba...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 173–181.
Published: 01 September 2010
... most women in poverty sur- vive, albeit in great struggle. Almost all of us are survivors of one kind or another, and I wanted to explore that survival — ­in all its complexity — ­instead of repeating the violence. It seemed to me that films and books and television were repeating a violence...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... like they had taken all the clichés that they had been told about ballet and bundled them into a film,” and dance critic Robert Gottleib explains that “Black Swan  does what Hollywood movies have always done — it spends its energies on getting some surface things right while getting...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
..., Leon (Brion James), to retrieve his photos, some of which are deemed “family photos” in Deckard’s voice-over narration of the theatrical release, infers that all the replicants (including Deckard?) have false memory implants. That they also seem to show emotional states similar to Rachel’s...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
... infamous images from Abu Ghraib prison, those that have become iconic since they were first made public in 2004 (figure 4). They are the ones we all know, or thought we knew: the gruesome, sexually charged, and melodramatically staged sufferings of Iraqi prisoners, sometimes alone, sometimes in...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 97–129.
Published: 01 May 2010
... Sundance Kid  (dir. George Roy Hill, US, 1969), Thunderbolt and Lightfoot  (dir. Michael Cimino, US, 1974), and the Lethal Weapon  films (dir. Richard Donner, US, 1987 – 98) all right- fully contextualize the films in a post-1960s conception of gender and sexuality. In other words, the movies exist...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
.... However, the Narra- tor leaves the player free to obey or disobey his prompts. Walking through the left door or the right, following the path or diverg- ing from it, even beginning to walk or not all of these choices lead to eighteen different absurd endings, each resolving back to the beginning of the...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 1–27.
Published: 01 September 2017
... the Babadook. Amelia must learn that, like the child at the beginning of The Turn of the Screw, Samuel was right all along about the pres- ence of the supernatural in their midst. In hindsight, Samuel’s preparations for confronting the monster are not only legitimate actions but...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
... w er.’  ” 5 Giddens argues that the failings of socialism and the rise of neoliberal governments are generating a revision of social democracy. Rather than the old left and the old right, we have a Third Way — ­a new left typified by Tony Blair’s Labor. While the old left is noted for, among...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
... star as a narcissistic diva are recontextualized, constructing a figure of depth and authentic- ity who becomes all the more masculine for his ability to succumb to the occasional episode or period of acting out. The depth and authenticity of the performer are developed through the strategic...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... spectatorship . . . like a play, mar- riage exists in and for the eyes of others.”25 Richie and Dan are the primary witnesses to Laura’s despairing performance of the model housewife. Further, as with Sirk’s 1955 All That Heaven Allows (US), neighbors in homogenous suburban neighborhoods become eagle...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
... not difficult to detect an impulse to investigate subjectivities that are unproductive, inaccessible, or otherwise outside in relation to the social norm.32 Other than the “social average” group of “middle-­class whites,” these “types” are all instances of what Rey Chow has dubbed...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 109–137.
Published: 01 May 2020
... and constrained by disbelief and adoration. The jolt that comes in response to her adorableness depends on an economy of danger that, at any given moment, can shift and reorganize the value of life. All eyes in the sky are baffled. Bafflement, I argue, is a core affect of ethical whiteness. As a core...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... this form of masculinity, the film indicates, cease to be lib- eratory at all. The two protagonists struggles to negotiate this tension are established early in the film, from the opening sequence of Vincent s gaze moving back and forth between the bikinied white woman on the billboard and the Black...