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adoption

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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 in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2004) 19 (2 (56)): 1–45.
Published: 01 September 2004
... Brooks’s portraits, have an exhibitionist quality 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 165–171.
Published: 01 May 2008
... the male costume she appropriates — monocle, 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2007) 22 (2 (65)): 73–101.
Published: 01 September 2007
... 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- ily, a “Rainbow Tribe” as she called them in response to white supremacy. Baker’s rainbow vision of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 103–107.
Published: 01 December 1989
... cultures. My 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 177–183.
Published: 01 December 2016
... censorship in the 1950s and 1960s. I was able to adopt a position that was embedded in Italian iden- tity, politics, and history as well as one that was removed from it. I think the project benefited greatly from this duality. As three different personalities working under a single identity, how are...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 97–129.
Published: 01 May 2010
... been more than 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 120–126.
Published: 01 September 1988
... systematic account of the two books that the cinema led Gilles Deleuze to write. 1 In the form of organization they adopt-that of non-linearity-and in the conceptual order they engage-thatof dividedthought-thetwo books defy any synthesis other than a disjunctive one. And even this sort of synthesis...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1981) 3 (1 (7)): 128–135.
Published: 01 May 1981
... gives way beneath While both holism and topism remain extremely influential, it is topism which historically remains in ascendancy in clinical medicine, and is adopted unflinchingly in both Healthcuring and Self-Heulth. (It should be noted that there is currently...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1993) 11 (2 (32)): 41–74.
Published: 01 September 1993
..., Tarantino locates Harvey Keitel in his personal psychodrama: “the father I never had.”8 Speaking as auteur, 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2005) 20 (3 (60)): 129–157.
Published: 01 December 2005
... Americanization of Tsuru Aoki  •  141 publicity, undergirds this construction of the couple. In a sense, the Hayakawas invert the dynamic of the reunited couples in DeMille’s comedies of remarriage, as discussed by Charles Musser, who adopt sensuous Oriental consumer accessories to revital- ize their...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2013) 28 (2 (83)): 151–175.
Published: 01 September 2013
...-­ and second-­wave feminist movements, postfeminist culture and neoliberalism affect both women and men in a variety of over­ lapping ways. This focus on women as the ideal neoliberal subjects also encourages men to adopt more “feminine” characteristics and dilemmas, including a “chronic...