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1-20 of 75 Search Results for
adult video industry
Camera Obscura (2017) 32 (2 (95)): 29–61.
Published: 01 September 2017
... mainstream adult video are neither static nor stagnant but rather continually evolving. Despite ongoing blind spots, erasures, and systemic discrimination, the industry's output is increasingly diverse. This article explores mainstream alt-porn as a particularly productive site for locating ruptures, aporias...
Camera Obscura (2015) 30 (2 (89)): 89–123.
Published: 01 September 2015
... • Camera Obscura protagonists in the gaming industry: “In an early study analyz- ing video-game packaging, among stereotypical representations of women, Eugene F. Provenzo Jr. notes many muscular-chested males armed with huge weapons, wearing torn clothing, and posed in dominant, aggressive...
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
... with a distinctive voice and a personality all their own.9 Given the male- dominated nature of the video game indus- try, it should come as no surprise that silent protagonists are often white men.10 But there is a more complicated argument to be made here, one based more on aesthetics than industry...
Camera Obscura (2002) 17 (3 (51)): 115–147.
Published: 01 December 2002
... “The Hedgehog,” twenty-three-year veteran of the “adult” ﬁlm industry and arguably its most recognizable male icon: 47 years old, 5’7”, 200 pounds, and 9 inches. He has either directed or starred in over sixteen hundred pornographic features, and he has also released a Billboard Top Forty rap...
Camera Obscura (2010) 25 (1 (73)): 161–195.
Published: 01 May 2010
... in any industry, it is often the most successful companies that have difficulty adapt- ing quickly. Companies like Playboy Enterprises, Vivid, Hustler, and Wicked have built their brands, and their revenue streams, largely on print and video sales. With declining DVD sales across the adult...
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
...Zoë Druick In her digital video work Mass Ornament (2009), the Testament series (2009), and Now He's Out in Public and Everyone Can See (2012), US artist Natalie Bookchin gathers clips from video blogs in which people perform dances and discuss personal and political issues, from sexuality to...
Camera Obscura (2010) 25 (2 (74)): 1–39.
Published: 01 September 2010
... computers as a tool.”3 At the same time, other women working in the video game industry objected to how companies creating “pink software” for girls were letting market research set the path of design. For example, Heidi Dangelmaier, a game designer and early advocate of such software...
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
...Elena Gorfinkel American sexploitation cinema of the 1960s and early 1970s has gained a second life in the past two decades through a boom in video and DVD distribution and rerelease, and consequently a new, generationally distinct audience. This article proposes that what appeals to cult audiences...
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... (Duma). Consequently, Germanika has become visible as an auteur who operates simultaneously between several historical, conceptual, and industrial formations: as a female director in a still male-dominated post-Soviet cinema industry, as an independent director in a production landscape defined by large...
Camera Obscura (2019) 34 (3): 31–61.
Published: 01 December 2019
... production and reception, I argue that the content and form of TV in its developmental years directly contextualize industry and society. In its first decades of mass use, television refigured spatial relationships by creating an uncanny liminality between the public sphere of commerce and entertainment and...
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
... biographical 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...
Camera Obscura (2009) 24 (2 (71)): 43–75.
Published: 01 September 2009
...Belinda Smaill British documentary filmmaker Kim Longinotto has been producing work for three decades. Her films have circulated widely and garnered significant critical acclaim. Despite her prominence in the industry, Longinotto's films have attracted surprisingly little scholarly attention. Her...
Camera Obscura (2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
..., industrial, and transnational levels. In the Twilight series, Pattinson's highly flexible star image appeals to audiences with different kinds of sexual or romantic desires, for if we look carefully at the way Edward Cullen is represented, and how Pattinson is marketed in the media, he is portrayed as both...
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
...Lucas Hilderbrand Camera Obscura 2004 Lucas Hilderbrand is a PhD candidate in cinema studies at New York University and a programmer for MIX: The New York Lesbian and Gay Experimental Film/Video Festival. Framed in front of a staticky TV monitor, Karen’s subjectivity is inﬂuenced by...
Camera Obscura (2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
... demographically.”8 While such audiences may have existed before and involved isolated adult enjoyment of media aimed at children, Burdfield emphasizes that new media technologies and fan practices now allow such audiences to be vis- ible to the culture industries. There is little indication that the...
Camera Obscura (1988) 6 (1 (16)): 169–177.
Published: 01 January 1988
... for many activities other than TV reception: home video, video games, homemade video, data banks and information services, and the whole range of possibilities about to open up with the future of computer-video interfacing. Traditionally, the home has been an optional...
Camera Obscura (1995) 12 (3 (36)): 134–153.
Published: 01 September 1995
... industrial practices of music television programming and the conven- tions of music video narratives and the growing reliance on televisual images to...
Camera Obscura (1993) 11 (2 (32)): 124–160.
Published: 01 September 1993
.... of plywood and sheetrocked video rooms [Figure 7] roughly built to simulate the conditions of substandard housing. At the exhibition’s entrance, the spectator is confronted by the historical weight of a massive installation of large iron chains wrapped around a suspended industrial scale...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 33–59.
Published: 01 December 1982
... they obey. . . . Other monsters fight against this system. . . . For eight hours [the monsters] place themselves at the disposition of the great military-industrial complexes.” Evidently, we are all monsters . The interview begins, punctuated with titles and occasional voice- over...
Camera Obscura (1989) 7 (2-3 (20-21)): 336–372.
Published: 01 December 1989
.... -. Shot/Countershot: Film Tradition and Women’s Cinema. Princeton, NJ: Princeton University Press, 1989b. -. “Shot/Countershot: Intertextuality and Women’s Cinema.” Journal ofFilm and Video 41, no. 4 (1989 -. “DesperatelySeeking Susan: The Desire to Desire.” Close Viewings: An...