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Journal Article

“Actors Simply Explode”: To Act in the Cinema of Jean-Marie Straub and Danièle Huillet

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Manuel Ramos-Martínez
Camera Obscura (2016) 31 (2 (92)): 93–117.
DOI: https://doi.org/10.1215/02705346-3592477
Published: 01 September 2016
...Manuel Ramos-Martínez This essay examines the political significance of Jean-Marie Straub and Danièle Huillet's work with actors in their cinema practice. Straub and Huillet's acting methodology is an essential aspect of their cinema and its struggle to undo militaristic, patriarchal...
View articletitled, “<span class="search-highlight">Actors</span> Simply Explode”: To Act in the Cinema of Jean-Marie Straub and Danièle Huillet View PDF for article titled, “<span class="search-highlight">Actors</span> Simply Explode”: To Act in the Cinema of Jean-Marie Straub and Danièle Huillet
Journal Article

Cinderella Man: Russell Crowe as Il Diva

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Michael DeAngelis
Camera Obscura (2008) 23 (1 (67)): 47–67.
DOI: https://doi.org/10.1215/02705346-2007-023
Published: 01 May 2008
... within the narrative itself. With the extracinematic publicity and critical texts appearing after this film, the actor's by then well-publicized aggressive tendencies are reworked as signs of the a actor's authenticity as he follows a path of supposed self-discovery. Crowe's recent film roles have...
View articletitled, Cinderella Man: Russell Crowe as Il Diva View PDF for article titled, Cinderella Man: Russell Crowe as Il Diva
Image
Figure 3. Syndie versions eliminate Arthur Adams's role as a police desk sergeant, the episode's only scene with a Black actor.

Syndie versions eliminate Arthur Adams's role as a police desk sergeant, th...

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in Re witched : Retextuality and the Queering of Bewitched > Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 3. Syndie versions eliminate Arthur Adams's role as a police desk sergeant, the episode's only scene with a Black actor. More
Journal Article

Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines

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Maya Sidhu
Camera Obscura (2023) 38 (2 (113)): 1–29.
DOI: https://doi.org/10.1215/02705346-10654871
Published: 01 September 2023
... of their political actions and educational segments edited together in their newsreel compilation film, Le film de la Femme nouvelle (dir. la Femme nouvelle, France, 1935), the suffragists, led by Louise Weiss, frame themselves as essential workers, fearless political actors, and perfect housewives...
FIGURES
View articletitled, Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines View PDF for article titled, Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines
Journal Article

“They Can't Do This to Us !”: Alan Alda as (Anti)Feminist Signifier

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Peter Alilunas
Camera Obscura (2011) 26 (3 (78)): 35–61.
DOI: https://doi.org/10.1215/02705346-1415425
Published: 01 December 2011
...Peter Alilunas Alan Alda has an important legacy not only as an actor but also as a feminist activist. This article reexamines his star text from the perspective of his political work as a vocal and very public supporter of the Equal Rights Amendment in the 1970s, as well as explores why his name...
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Journal Article

Voices from Beyond the Grave: Virtual Tupac's Live Performance at Coachella

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Katherine Fusco
Camera Obscura (2015) 30 (2 (89)): 29–53.
DOI: https://doi.org/10.1215/02705346-3078314
Published: 01 September 2015
... performer, the entertainment industry may place actors and musicians in new contexts, distancing performers from the more challenging aspects of their biographies. In the case of Virtual 2Pac , this new practice appears particularly insidious, as the biographical Tupac Shakur's political activism and messy...
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Journal Article

The Terror That Makes One Whatever One Is: Sterling Hayden's Emotional Testimonies

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Matt Tierney
Camera Obscura (2015) 30 (2 (89)): 157–187.
DOI: https://doi.org/10.1215/02705346-3078358
Published: 01 September 2015
...Matt Tierney This article conducts a critical narrative of the public lives and performances of the actor Sterling Hayden as a contribution to the theory of emotion. Cultural theories of feeling have frequently suspended their attention to the diachronies of story and history in favor...
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Journal Article

De–Black Boxing Media: The Technological Feminine in Avital Ronell’s The Telephone Book

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Anne M. Royston
Camera Obscura (2018) 33 (1 (97)): 29–55.
DOI: https://doi.org/10.1215/02705346-4336828
Published: 01 May 2018
... manifest as unreadable noise, interventions on the print page that produce a technological feminine. Situated alongside ANT (actor-network theory), media theory, and cyborg feminism, the technological feminine gestures at the limits of these attempts to de–black box media, insisting on an irreducible noise...
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Journal Article

Valencia: The Movie/s : A New Collectivity

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Liz Clarke, S. Topiary Landberg
Camera Obscura (2016) 31 (3 (93)): 165–175.
DOI: https://doi.org/10.1215/02705346-3662075
Published: 01 December 2016
... inclusion, expanding the definition of the subculture Tea so vividly represents in her memoir about the punk-dyke community of San Francisco's Mission District in the 1990s. The omnibus structure of the film, in which every chapter presents a disjunctive shift in the aesthetics and cast of actors, provides...
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Journal Article

Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s

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Małgorzata Radkiewicz
Camera Obscura (2021) 36 (3 (108)): 61–83.
DOI: https://doi.org/10.1215/02705346-9349357
Published: 01 December 2021
... as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive...
FIGURES
View articletitled, Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s View PDF for article titled, Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s
Image
Figure 4. From left to right: Reynolds as Kathy Selden, Kelly as Don Lockwood, Jean Hagen as Lina Lamont, and the Puerto Rican singer-actor-dancer Rita Moreno as the flapper Zelda Zanders. Here Zanders, who had a more prominent role in earlier film scripts, tells Lockwood, “Oh, anytime, Don” after he sarcastically thanks her for outing Selden as Lamont's voice double. Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US, 1952)

From left to right: Reynolds as Kathy Selden, Kelly as Don Lockwood, Jean H...

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in Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain > Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 4. From left to right: Reynolds as Kathy Selden, Kelly as Don Lockwood, Jean Hagen as Lina Lamont, and the Puerto Rican singer-actor-dancer Rita Moreno as the flapper Zelda Zanders. Here Zanders, who had a more prominent role in earlier film scripts, tells Lockwood, “Oh, anytime, Don More
Journal Article

Passion (Love and Work)

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Jean-Luc Godard
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 124–130.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-124
Published: 01 December 1982
... into two parts: the chic part and a popular cafe. Among the clients of the hotel are several minor technicians (who are part of a film or television crew shooting a huge production some fifty kilometers away). Among them is a Polish actor, serious and reserved. Me writes his...
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Journal Article

The Art of Screen Passing: Anna May Wong's Yellow Yellowface Performance in the Art Deco Era

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Yiman Wang
Camera Obscura (2005) 20 (3 (60)): 159–191.
DOI: https://doi.org/10.1215/02705346-20-3_60-159
Published: 01 December 2005
... complete success), Asian American actors were seldom judged by their performing skill, let alone their performative strategy. Instead they were often seen as a mere index of a homogenous Orient. Consequently, Wong’s screen passing has remained unrec- ognized and occluded by essentialist discourses...
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Journal Article

Between Worlds: Indigenous Identity and Difference in the Films of Darlene Johnson

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Therese Davis
Camera Obscura (2014) 29 (1 (85)): 81–109.
DOI: https://doi.org/10.1215/02705346-2408525
Published: 01 May 2014
... method also uses film as a concep- 86  •  Camera Obscura tual model — the process of thinking film through film. Johnson has made a number of films, including several biographical documen- taries of Indigenous film actors, that document and/or narrate sub- jects whom she describes as “caught...
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Journal Article

Missing Persons and Bodies of Evidence

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Ann Chisholm
Camera Obscura (2000) 15 (1 (43)): 123–161.
DOI: https://doi.org/10.1215/02705346-15-1_43-123
Published: 01 May 2000
... picture actors. Body doubles occasionally perform stunt work, but the American film industry has defined and positioned the two occupations quite differently. Although body doubles often are constitutive of pivotal plot points in many films...
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Journal Article

“Cinema at Its Source”: Synchronizing Race and Sound in the Early Talkies

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Alice Maurice
Camera Obscura (2002) 17 (1 (49)): 31–71.
DOI: https://doi.org/10.1215/02705346-17-1_49-31
Published: 01 May 2002
... a curiosity that audiences might have shared with the notion of looking for voices; the two actors essentially perform a desire to see something unseeable, something formerly intangi- ble now newly materialized on a piece of film. One thing white producers and moviegoers were looking for in these new...
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Journal Article

A Permeable Practice: Shortbus and the Politics of Cinematic Collaboration

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Corinn Columpar
Camera Obscura (2016) 31 (1 (91)): 5–25.
DOI: https://doi.org/10.1215/02705346-3454507
Published: 01 May 2016
... in and through a production process dictated by Mitchell’s realization that “for the actors to feel safe, they really should create the film [themselves9 One way of realizing such a shift would be to account in detail for that process, which started with an open casting call advertised online...
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Journal Article

Wicked Divas, Musical Theater, and Internet Girl Fans

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Stacy Wolf
Camera Obscura (2007) 22 (2 (65)): 39–71.
DOI: https://doi.org/10.1215/02705346-2007-003
Published: 01 September 2007
... was com- pletely halted by “this outpouring of love,” with only a few lines of dialogue and a half verse of a song remaining in the show.1 Finally, after much grinning and stammering from the actors, Thompson picked up her cue, “Fellow Ozians,” and then shouted, “I love you, Idina Menzel...
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Journal Article

Masquerading As the American Male in the Fifties: Picnic , William Holden and the Spectacle of Masculinity in Hollywood Film

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Steven Cohan
Camera Obscura (1991) 9 (1-2 (25-26)): 41–72.
DOI: https://doi.org/10.1215/02705346-9-1-2_25-26-41
Published: 01 September 1991
...Steven Cohan Copyright © 1991 by The Johns Hopkins University Press 1991 WORKS CITED _____.“All About Eve: Kinsey Reports on American Women.” Newsweek 24 Aug. 1953 : 68 –71. Armstrong , George “Are Actors Sissies?” Photoplay Feb. 1953 : 52 –53, 97. Bentley , Eric...
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Journal Article

Free Indirect Affect in Cassavetes' Opening Night and Faces

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Homay King
Camera Obscura (2004) 19 (2 (56)): 105–139.
DOI: https://doi.org/10.1215/02705346-19-2_56-105
Published: 01 September 2004
... to a long shot taken from the stage of a crowded audience. The point of view this shot provides is ambiguous—we do not yet know what kind of play we are watching, who exactly is playing the scene, or where the actors stand, and Myrtle has not yet entered the stage. These three shots cannot...
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