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aesthetics of the surface

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Journal Article
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
... the attractive skin of the screen to be false, shallow, feminine, or apolitical and locating truth and value instead in variants of  Jordá’s uglified film body. This impetus is naturally not universal — there have been significant exceptions to the denigration of the aesthetic surface, particularly...
Journal Article
Camera Obscura (2024) 39 (1 (115)): 157–188.
Published: 01 May 2024
... a “disappearing act” that moves audiences beyond the flesh and into the heart of the matter: the internal depths of transgender fantasy and feeling. Aesthetically articulated, this trans cension progresses from the private visions of the film's protagonist, Marina, to an acute emphasis on sound as well as surface...
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Journal Article
Camera Obscura (2023) 38 (3 (114)): 77–105.
Published: 01 December 2023
...Kata Kyrölä Abstract This article examines the Swedish fantasy‐horror‐romance film Gräns ( Border , dir. Ali Abbasi, 2018) through queer Indigenous thought and the notion of trans aesthetics, exploring how the film may sensitize its viewers to seeing and feeling with gender variance, queer desire...
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Journal Article
Camera Obscura (2022) 37 (3 (111)): 31–57.
Published: 01 December 2022
.... Carmelita in Mosori Monika (dir. Chick Strand, US, 1970) Figure 1. Carmelita in Mosori Monika (dir. Chick Strand, US, 1970) 1970s feminisms aesthetics of the surface experimental ethnographic cinema experimental film historiography and cinema Copyright © 2022 by Camera Obscura Published...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... black skin and modern surface.39 56  •  Camera Obscura Placed in the larger context of Loos’s ongoing theoretical ambiva- lence and in an active dialogue with Baker’s own aesthetics, it will become clear that multiple and warring desires are being played out in the interior/interiority...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 187–193.
Published: 01 September 2016
.... Heather Davis is a postdoctoral fellow at the Institute for the Arts and Humanities at Pennsylvania State University where she researches the ethology of plastic and its links to petrocapitalism. She is the editor of Art in the Anthropocene: Encounters among Aesthetics, Politics, Environments...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... and pose a reading of its bootleg aesthetics. Videotape duplication of the work formally changes the text so that its thematic concerns—mass-media dis- tortion and its relations to subjective and bodily breakdown— become rendered on the surface; significantly, this analog dupli- cation also makes...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 89–106.
Published: 01 December 1984
..., many of which appeared in Socialisme ou Barbarie, concern decolonialization and the war in Algeria. In the early seventies, Lyotard published the books that were to present his departure from traditional philosophy, moving outside of the accepted boundaries of aesthetics by proposing a theory...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
.... This domain, originally called aesthetics, is located “at the surface of the body, the mediating boundary between inner and outer.”72 For Walter Benjamin, the “fate of modernity” depends on how we negotiate, through mimetic capacities or innervation, with the alienation of the senses caused...
Journal Article
Camera Obscura (2004) 19 (1 (55)): 77–111.
Published: 01 May 2004
..., it is through narrative ab- sorption that the spectator comes to read cinematic images, the third meaning disrupts that continuity with surface patterns that seem to have escaped the director’s aesthetic or ideological con- trol: the actor’s appearance (the shape of a forehead or nose) and the theatrical...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
...) — the tendency, which this shadow displays but does not fulfill, to seek a place to land, a surface to mark, a body to identify. To do so, we need to look at how blackness is signified within the visual forms that have historically given substance to an optical approach to race — forms...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 151–163.
Published: 01 September 2021
... experimentation with sound encouraged a unique kind of spatialization that pushed sensual, embodied packages of once-mute fur, paint, reflective surfaces, consumer products, and texts out into a complex corporeal-sonic field. Underlying the arc of this essay are at least two critical premises. One...
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Journal Article
Camera Obscura (2017) 32 (3 (96)): 121–154.
Published: 01 December 2017
... “The body’s texture is spatial; and reciprocally, the texture of space is corporeal.” — José Gil, “Paradoxical Body” “Orientations are tactile.” — Sara Ahmed, Queer Phenomenology “It is this tactile quality . . . that is essential to any lesbian aesthetic.” — Barbara Hammer, in Jacqueline Zita...
Journal Article
Camera Obscura (2003) 18 (2 (53)): 57–91.
Published: 01 September 2003
..., close-ups of immense compositional sophistication and emo- tional force, constitute the film’s aesthetic center. Her character is, in short, the very stuff of semantic stability. But spatial unity structures semantic stability in the visual field, and the film that represents this character does so...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 146–154.
Published: 01 September 1988
... chapters with aesthetic, technological, economic and social film history. A case study concludes each of these chapters, applying some of the methods presented within them. The authors make it clear that they are not out to propose a single method of writing film...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 133–163.
Published: 01 May 2023
.... Their explicit and often spectacular refusals and failures — of the liberatory promises of bourgeois motherhood on the one hand, and political activism on the other — deny any possibility of a reparative fantasy within the film. Made during a period of significant aesthetic and personal change in Rainer's life...
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Journal Article
Camera Obscura (2012) 27 (2 (80)): 25–59.
Published: 01 September 2012
...Lindsey Green-Simms This essay examines the aesthetic dimensions of the “occult melodramas” of West African video-films by discussing how filmmakers use the technology of video to recreate the sensuous impact of daily rumors that speak to spiritual and socioeconomic anxieties. Given...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 91–113.
Published: 01 May 2022
... against a glass in front of the camera, Rist quite literally exaggerates the flat confines of the surface of the screen. In her installation Remake of the Weekend (1998), she takes on Mary Douglas's statement that “dirt . . . is never a unique, isolated event. Where there is dirt there is system. Dirt...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 9–57.
Published: 01 December 2001
... 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 with “great” auteurs...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
...Mimi Thi Nguyen A unique aesthetic and artifact for what might loosely be dubbed “Vietnamese America,” the Ao Trang (White Dress) calendar draws from a reservoir of images and feelings of the so-called traditional Vietnamese dress — and specifically, its most iconic form as the uniform...