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World War II
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1
Journal Article
Camera Obscura (2018) 33 (2 (98)): 161–195.
Published: 01 September 2018
... “exotic.” The production insisted on her embodiment of the Hollywood beauty ideal during World War II and defined feminine beauty in terms that would not offend soldiers overseas. Fox went as far as to excise a montage sequence in which the influential columnist Waldo Lydecker (Clifton Webb) helps make...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
...Jennifer Peterson A growing body of scholarly work has focused on the role of cities—and, to a lesser degree, the suburbs—in post–World War II American film. Less attention has been paid to rural and wilderness locations, but, in fact, they played an important role in the melodramas of the period...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 87–107.
Published: 01 May 2021
...Sandy Flitterman-Lewis Abstract Agnès Varda's 2007 installation Les Justes au Panthéon ( The Righteous at the Pantheon , France) honored the many French “Righteous” who saved Jewish children during World War II in a ceremony commemorating their heroic actions with the placement of a plaque...
FIGURES
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Journal Article
Camera Obscura (2001) 16 (1 (46)): 99–141.
Published: 01 May 2001
...?
—Ingeburg Menz
Introduction to a Controversy
The statement above was made by Ingeburg Menz, a German
woman raped at the end of World War II, when the Allied Forces
swept through Germany.1 Menz’s remarks were solicited by the
director Helke...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 93–119.
Published: 01 December 2017
... to communicate them) allows us to make
sense of the film in relation to several entangled biopolitical con-
cerns of the early 1960s: the management of post – World War II
Asian American populations, remnants of the lavender scare, the
burgeoning feminist movement, and the changing status of white-
ness...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 1–39.
Published: 01 September 2002
...
until World War II (when it shifted from a national to a global
discourse of “world health a new mode of imagining disease
developed between the advent of bacteriology and the invention
of cinema.13 In the late nineteenth century, cinema enabled med-
ical imaging of bacteria in motion, and medical...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 63–87.
Published: 01 September 2017
... to two post – World War II movies that deal
with what she calls “historical trauma.” By this she means “any his-
torical event . . . which brings a large group of male subjects into . . .
an intimate relation with lack.”16 War trauma clearly falls into this
category, and the protagonists she...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 7–35.
Published: 01 May 2009
... invisible (nonexpressed)
Introduction • 9
genetic differences or as a way to weigh risk factors for certain dis-
eases.3 As Jennifer Reardon has noted, these biological “confirma-
tions” have disturbed the post – World War II, cross-disciplinary...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 179–184.
Published: 01 December 2007
... audio and visual
mediations describe a kind of human experience that is heavily
fragmented, unstable, and subject to massive outside forces.
The one Gayatri Spivak calls “the subaltern” and Giorgio
Agamben calls “the Musselman” (his term for the walking dead
of the World War II...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
... narrative of European domination by
Hollywood in the immediate post–World War II era was force-
fully proposed in 1969 by Thomas H. Guback in The International
Film Industry. Guback’s pioneering study was constructed from
published statistics and unattributed...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 33–57.
Published: 01 May 2005
... Deleuze’s description of
cinema after World War II, in the crystalline explosion of time, of
the past. This is time getting fucked in the ass. Narrative logic has
Copyright © 2005 by Camera Obscura
Camera Obscura 58, Volume 20, Number 1
Published by Duke University Press
33
34 • Camera...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 143–179.
Published: 01 May 2001
...
post–World War II and postindependence patterns of circulation
between North and West Africa and France.2
A repertoire of popular culture has been emerging out of
this mix in its current form since the first beur novels and films
appeared...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 61–83.
Published: 01 December 2021
... it the best film of the year. To this day, it is seen as one of the most important Polish prewar productions; unfortunately, it's gone. Not even a single fragment survived World War II, especially since most of the copies had been screened in cinemas in Warsaw, which was turned to rubble by 1945...
FIGURES
Journal Article
Camera Obscura (2020) 35 (1 (103)): 77–107.
Published: 01 May 2020
... of Crimes Com- mitted during the Period of Democratic Kampuchea (ECCC), and the corpus s contribution to the ECCC, as will be elaborated below, by far exceeds cinema s role in rehabilitation of ethics in post World War II Europe and Germany.3 I contend that during the second half of the twentieth cen...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 9–46.
Published: 01 January 1988
... in residential construction during the Depression that lasted
through World War II, was fueled by an increasing demand for housing
as marriage and birth rates rose to new heights. Often unable to secure
housing in the densely populated urban areas, the middle-class homeless
looked to the new pre-fabricated...
Journal Article
Camera Obscura (2001) 15 (3 (45)): 71–113.
Published: 01 December 2001
....”
Stanley Kramer, the film’s producer, was a major player in the
social-problem genre, part of the cinematic variant of the studies
of social and political problems that had gained unprecedented
influence in the World War II and cold-war periods.1 He went...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 1–7.
Published: 01 May 2021
... Varda's 2007 multimedia installation Les Justes , honoring the “Righteous,” individuals who protected Jewish children during World War II. She analyzes how Varda moves between cinematic reconstruction and physical photographs, immortalizing the ephemeral. By addressing the Occupation as a woman artist...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 158–184.
Published: 01 May 1995
... in popular culture of the 1980s and 1990s, of
the particular difficulties attending the history of women and war,
especially women and Vietnam. By depicting Vietnam as a fantasy
space in which Americans can recreate a national identity based on
World War II and Cold War...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 127–136.
Published: 01 September 1988
... Created
Woman and Moi un Noir?
While Hillier can't be obliged to render "French Values since World
War II" as a preface to his anthologies, circumscribing their cultural
context to the sphere of "film culture" keeps these articles in tow,
refusing to let them drift...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 78–116.
Published: 01 January 1988
... of activism that characterized the
decade. Even in the private sector, industrial corporations made more
concessions to workers than naked power realities necessitated because
they feared the political consequences of mass disillusionment with the
system."
World War II...
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