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Camera Obscura (2013) 28 (2 (83)): 77–107.
Published: 01 September 2013
...Dijana Jelača Adoption is often used as a tool, both literally and figuratively, for a fantasy of rescue — and therefore it is a suitable device for normativizing parenting, particularly mothering, as a measure of moral nobility. In this article, the contested nature of prominent cultural...
in Calculating Couples: Computing Intimacy and 1980s Romance Software > Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2023
Figure 5. The advertising for Lovers or Strangers adopts the imagery of romance novel covers. More
Camera Obscura (2017) 32 (1 (94)): 93–127.
Published: 01 May 2017
..., France, 1945). Adopting Marcel Mauss's categories of the human mind, the author maintains that the relationship between Arletty's person, her star persona, and her function as a personnage (character) constitutes a unique form of aesthetic selfhood recognized by her contemporaries but largely...
Camera Obscura (2008) 23 (3 (69)): 159–191.
Published: 01 December 2008
... popular to have appealed exclusively to a gay audience. Despite their evident camp value today, peplum films appear to have been principally aimed at, and consumed by, straight adolescent males. The peplum largely adopts three strategies, not always consistent among themselves, to address its problematic...
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
...Domietta Torlasco This article interrogates the relation between memory and creation in Monica Bonvicini's installation Destroy She Said and Agnès Varda's film The Gleaners and I , both involving the adoption of digital technology and the simultaneous appropriation of analog materials. It is my...
Camera Obscura (2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
... of seeing.” But this mode of seeing is not innocent; it is, to adopt Heideggerian language, a “challenging” or “enframing” of seeing, such that the quotidian processes of imagination and conceptualization evident in the human senses are instrumentalized according to specific interests and outcomes. I wish...
Camera Obscura (2023) 38 (2 (113)): 145–171.
Published: 01 September 2023
...Figure 5. The advertising for Lovers or Strangers adopts the imagery of romance novel covers. ...
Camera Obscura (2004) 19 (2 (56)): 1–45.
Published: 01 September 2004
... and a degree of playfulness in the poses adopted, but there is nothing playful or frivolous about his mas- culinity. Indeed, one of the main purposes and, I would argue, outcomes of the portraits is an unambiguous statement of Came- ron’s identity as a man. In this respect, the images have a very clear...
Camera Obscura (2005) 20 (1 (58)): 185–207.
Published: 01 May 2005
... adopting discourses of sobriety to “set the record straight,” but that they are innovating more imaginative modes of documentary that draw from a number of cultural references, including tradi- tional forms of political clowning, contemporary popular culture, and Hollywood cinema itself.3 Velvet...
Camera Obscura (2017) 32 (3 (96)): 33–61.
Published: 01 December 2017
... (Eric Ston- estreet), and their adopted Vietnamese daughter, Lily (Aubrey Anderson- Emmons). As a successful product of ABC’s family- friendly programming strategies, Modern Family’s ratings typically lead in the time slot’s eighteen-to-forty- nine demographic. Early in its run, the “Modern...
Camera Obscura (2008) 23 (1 (67)): 165–171.
Published: 01 May 2008
..., pinstripes, tailed coat, page-boy hair- cut — has the unusual distinction of feminizing the male wearer while masculinizing the female. Troubridge’s adoption and display of precisely these accessories, and not others, speak to the narrow range of dandy codes and their conscientious...
Camera Obscura (2010) 25 (1 (73)): 97–129.
Published: 01 May 2010
... eighty years since they established their celebrity, Stan Laurel and Oliver Hardy still have an impres- sive fan base. Collectively known as the Sons of the Desert, this network consists of various local clubs called “tents” — with dozens of tents adopting the names of different Laurel...
Camera Obscura (2007) 22 (2 (65)): 73–101.
Published: 01 September 2007
... and her husband Jo Bouillon began self- consciously conducting a pseudoscientific experiment in multi- cultural harmony by adopting twelve children of different races and religions.19 Baker and Bouillon wanted to demonstrate that their children could grow and thrive together and become a fam...
Camera Obscura (2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
... — to complete the game’s nar- rative circle. Depending on the perspective adopted, this may be a moment of video-game misogyny in a title that features a male protagonist dispatching numerous creatures of monstrous femi- ninity, of which mutant Mary is just one. Or else this game...
Camera Obscura (1989) 7 (2-3 (20-21)): 103–107.
Published: 01 December 1989
... oscillation between two po- sitions, a cultural bisexuality so to speak, is a form of transvestism (Mulvey 1975, 1981) or double identification (de Lauretis 1984): as in these tropes of female spectatorship, I also see (myself) by adopting the viewpoint or position...
Camera Obscura (2022) 37 (2 (110)): 91–117.
Published: 01 September 2022
... of the Nanjing Massacre. I look at how the adoption of the trope of family narratives in The Girl and the Picture challenges the representational stereotypes of previous Nanjing Massacre documentaries mainly along the axes of testimonial mode, gender, and intergenerational and transnational memory frameworks...
Camera Obscura (1993) 11 (2 (32)): 41–74.
Published: 01 September 1993
..., Tarantino shapes himself as a fan, so that Keitel’s paternity constitutes a relationship of cultural adoption. Within the same metaphorics, a figure like Travolta is orphaned by Hollywood, and then reclaimed or restored as he is adopted by Tarantino. Indeed, Tarantino’s texts are full...
Camera Obscura (2016) 31 (3 (93)): 177–183.
Published: 01 December 2016
... that resonates with the project and simultaneously underscores my differences. For instance, my 2015 project When the Towel Drops, Volume 1, Italy focuses on Italian cinema censorship in the 1950s and 1960s. I was able to adopt a position that was embedded in Italian iden- tity, politics, and history...
Camera Obscura (2013) 28 (3 (84)): 169–170.
Published: 01 December 2013
... Homosexual Desire in Philippe Vallois’s Johan. No. 84: pp. 125 – 57 Lucas Hilderbrand Sex Out of Sync: Christmas on Earth’s and Couch’s Queer Sound Tracks. No. 83: pp. 45 – 75 Dijana Jelacˇa Between Mothers and Daughters: Adoption, Family, and Black Female Subjectivity...
Camera Obscura (1997) 14 (1-2 (40-41)): 199–225.
Published: 01 May 1997
... their incorrigible behavior and adopt the orphans after angels help them win the championship. In both movies only the orphan child-a girl in the first version, a boy in the remake-is able to see the angels as they help the ballplayers make tremendous plays. In both versions as well...