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aesthetic selfhood

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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 May 2015) 30 (1 (88)): 155–183.
Published: 01 May 2015
...Pier Dominguez This article examines Bravo's Real Housewives franchise (2006–) to theorize the aesthetic, affective, and performance qualities of docusoap televisuality. It argues that the franchise functions through a financial and affective economy of “money shots,” or moments of predictably...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... openness to new ideas, new people, and new connections—that makes them sane. This notion provides a way of thinking about the aesthetic and political stakes of a collaborative process of creative production, such as the one employed in the making of Shortbus and made visible in its final form. This essay...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2007) 22 (2 (65)): 144–153.
Published: 01 September 2007
... dynamic of subjective affirmation and aggrandize- ment, cultivating through aesthetic performance a metamor- phosed selfhood that is at once valued and valuable, authoritative and authorizing. It is for this reason that the diva remains, even today, a profoundly provocative figure...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 1–9.
Published: 01 May 2015
... MEDIANZ as well as the advisory board of Celebrity Studies . Brenda R. Weber is professor of gender studies and film and media studies at Indiana University. Her books include Makeover TV: Selfhood, Citizenship, and Celebrity (Duke University Press, 2009); Women and Literary Celebrity in the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 1–33.
Published: 01 December 2001
... visible as an artist without becoming objectified as a woman, but of how such a question could even be posed within an artistic milieu defined by what Benjamin Buchloh described as conceptual art’s denigration of aesthetic pleasure and concomi- tant...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2005) 20 (2 (59)): 165–195.
Published: 01 September 2005
... sexual selfhood. Redefined as an indexical symptom of sexual dissonance, my devotion to Andrews suddenly became a catalytic signifier of shame, a palpable marker of my failure to achieve heteronormality and, thus, another attachment to cache away in the cavernous closet of protogay childhood...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... direc- tor’s oeuvre, much scholarship in contemporary feminist film studies is attuned to thematic and aesthetic questions and to the materiality of commerce and access. The female director study constitutes a crucial optic within the discipline, offering new appraisals of the relationship...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 71–99.
Published: 01 May 2015
..., for example, is allowed to indulge in the spectacle of what reality TV dubs “hot messes” — partying twenty-­somethings, teenage mothers, and junkies in need of an intervention — only through a wink and a nod to the industrial, aesthetic, and promotional discourses that surround the genre of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 65–97.
Published: 01 December 2016
... such analyses are particularly important for the future of feminist think- ing, not least because feminist theories of art and feminist aesthet- ics have traditionally been closely tied to questions of performativ- ity, participation, and the sociopolitical dimensions of art. Feminist...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 129–165.
Published: 01 May 2017
... readily readable to fellow filmgoers as a follower of that actress. In this way, girls communicated their discerning spectatorial tastes and their affective alliances. Second, girl fans used the aesthetic markers popularized by prominent movie stars — such as hairstyles, clothing, makeup, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
... objective world that a person sees is ‘really’ like . . . this kind of film bears the same relation to documentary film that a self-­portrait has to a portrait or a [biography to an] autobiography” (25). While this insistence on questions of subjectivity and selfhood seems to ges- ture presciently...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 11–39.
Published: 01 May 2015
... American media. She has published in Antenna and In Media Res . Brenda R. Weber is professor of gender studies and film and media studies at Indiana University. Her books include Makeover TV: Selfhood, Citizenship, and Celebrity (Duke University Press, 2009); Women and Literary Celebrity in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 128–153.
Published: 01 January 1988
... any possible distinction between aesthetic and commodity production and proclaiming the end of meaning, the liquidation of the referential, and the dissolution of identity. With this crisis in representation comes a crisis in power, authority and legitimation as the traditional "mas• ter...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 16 (3 (48)): 9–57.
Published: 01 December 2001
... personae to a series of principles reveals an index to the genesis of film stardom per se. To view the birth of stardom from this perspective demands a fundamental shift in our assessment of the young industry’s aesthetic and cultural dictates. Rather than a fixed galaxy of stars associated...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 161–195.
Published: 01 May 2010
... wholly embrace the Web 2.0 culture of user-generated content, the site does share in its spirit and feeds on the notions of selfhood produced by it. New Porn: Beautiful Agony’s Sophisticated Consumer Beautiful Agony, created in 2004, is a subscription-based site fea- turing videos of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 93–133.
Published: 01 September 2012
... sign and the indexical. An intriguing hybrid, the lm’s innovative language (animated docu- mentary) has its origins in the “old” logic of cinema aesthetics — with the alleged disparity between the icon (animation) and the index (live footage) — and moves between the two. This transfor- mation...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2007) 22 (3 (66)): 93–127.
Published: 01 December 2007
... melodrama Inch’Allah dimanche, situating her flm stylistically and politically in relation to multiple flm genealogies and outlining how its unique aesthetics facilitate gendered insights into the experience of migration. I will iden- tify affnities with the French heritage flm, a genre...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 1–37.
Published: 01 May 2011
...- ignating these bloggers as Asian American and British Asian, I do not argue that there is a racially determined political or aesthetic unity among their blogs or their style of blogging. It is precisely the heterogeneity of strategies and discourses they use to construct and represent the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... interracial intimacy produced by performance across the color line. The stance toward her audience and the model of intersubjectivity Horne describes when speaking about her cabaret performances suggest that the scene of segregated nightlife performance organized an aesthetics of interracial...