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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2003) 18 (3 (54)): 41–69.
Published: 01 December 2003
... a fellow of the Center for Behavioral Research at the American University of Beirut. Still from Hadel Nazmy’s open studio project, “Personal Diary in Desolate Town,” at Cairo’s Townhouse Gallery in 2002. Courtesy Hadel Nazmy What Is That and between Arab Women and Video? The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
...Raz Yosef This article explores the relationship between trauma, gender, and ethnicity in the Israeli film Or, My Treasure (dir. Keren Yedaya, Israel/France, 2004). The film presents a few routine days in the life of Ruthie, a Mizrahi (Jews from Arab countries) prostitute, and her daughter, Or. I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
...Linda Williams This essay's point of departure is the question of how images of death and torture are literally and metaphorically framed by the people who take them and how they are further received by the publics who see them. Beginning with a comparison of two digital headshots of an Arab enemy...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1993) 11 (1 (31)): 4–25.
Published: 01 May 1993
... and journalism about the colonization of the Arab-Islamic world, European law is typically referred to as “civil law,” and the replacement of Shari’a (Islamic) law by “civil” law is almost always assumed (by Euramerican writers) to be a positive social reform, especially for women.’ In...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 161–163.
Published: 01 September 2012
.... In broken Arabic — abridged. In ill-­ timed guttural bursts. It was a toddler’s vernacular. “Yes I did carry rocks with me,” I whispered. “From the Promised Land.” “For my mother.” “I picked them myself.” “Does that mean I am a terrorist?” As the words left my mouth I speculated whether I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 135–143.
Published: 01 September 2012
... by the Arab Spring provided a charged context in which to consider work by queer and women Palestinian artists in close relation to transformational politics and social movements. Several signi cant developments in queer and feminist Pal- estinian and solidarity activism made this event...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 155–160.
Published: 01 September 2012
... (Foundation for Art and Creative Technology), Liverpool; visiting curator at Cornerhouse, Manchester; and associate curator at the Arab British Centre, London. He is the founding director of the Arab Film Festival (UK) and is an editor of the Beiruti bilingual cultural magazine, Portal 9 . He recently...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 137–177.
Published: 01 May 2007
... film’s production and reception in the late 1920s and into the stories still regularly told about Layla to this day. Not only is Amı¯r consistently eulogized in both general and historically particular Arab cinema scholarship but her position as a woman has in no way been dismissively...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2001) 16 (1 (46)): 77–97.
Published: 01 May 2001
... of the recent popularity of banlieue films and what is often called the beur cinema of French-Arab filmmakers, ironi- cally French-Arab directors often dissociate themselves from the idea of a beur cinema by arguing that this label risks marginaliz...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2000) 15 (1 (43)): 163–191.
Published: 01 May 2000
... unparalleled in Persian or English grammar, speaks to Arabic grammatical structures. It appears that on the occasions in which past and pre- sent are constituted in confluence with one another, the shot sequences become...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 1–33.
Published: 01 December 2008
..., with other emerging female video art- ists of the Arab world.4 This affinity offers an interesting prospect for feminist theorists of nationalism, who have frequently urged attention to the patriarchal structures of nationhood and have campaigned for gender reform as a central concern...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 107–137.
Published: 01 September 2009
... Morocco and abroad when it was released. Yet more than twenty years later, it remains in European and North American distribution and has become a mainstay in film festivals and classes devoted to women in the Arab or Islamic worlds and to international and transnational feminisms. A recent...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 91–121.
Published: 01 September 2011
... affect. She has authored numerous articles and is working on a manuscript titled “Anticipatory Governance, Queer Difference and the Post-oil Generation in the United Arab Emirates.” © 2011 by Camera Obscura 2011 Figure 1. Pantene 1 (2004) by Procter & Gamble Middle East Shampoo: Editing...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... horrible fear of terrorists hiding among us, are invoked and con- firmed by 24: for example, the nice, middle-class, Arab American family who lives across the street in that suburban housing develop- ment in Southern California is, in fact, a group of terrorists hiding in plain sight, as shown in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2005) 20 (3 (60)): 129–157.
Published: 01 December 2005
... hero, in films such as Cecil B. DeMille’s The Cheat (US, 1915), his perfor- mance clearly conveys the threatening sexuality of the exotic man present in screen depictions of Arab characters in the teens and twenties. Hayakawa’s Japanese roles and those of contemporary Arab characters also show...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
..., class, nation, and so on. The frst person we are introduced to in the camp is Marichka (Oana Pellea), a native informant who is referred to ear- lier as “Arab, gypsy, something” and who speaks an unidentifable language. As an informant she seems only native to the Bexhill camp itself, knowing...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 145–153.
Published: 01 September 2012
... his sweeping generalizations about gay rights, the Arab world, Israel, Islam, and homophobia don’t even start to capture the complexity and nuance of what’s going on. There are other outstanding questions: Why were no Palestinians included? Why only state- sponsored features, when shorts...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... collections that are really nuanced in their breadth. We had collections like “New Directions” and “Punto de Vista: Latina.” Now I think we have one of the most important collections by and about Muslim and Arab women. Post-­ 9/11 we made the films available for free to anyone who wanted to use them...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 84–117.
Published: 01 September 1995
... commonly used in the Arab world. As El Saadawi herself says, “Feminism to us is a very English word. We call it women’s liberation [tahrir al-ma’rah] because we don’t have feminism in Arabic. Women’s liberation means the liberation from class and patriarchal oppression.12 As El Saadawi...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 46–63.
Published: 01 September 1990
... an oasis, they said. I do not know. I cannot find it on my map.” These, the exotically accented words of an Arab woman (so identified in Fagin’s scenario) who has removed the purple veil covering her face. Standing behind the green rope of the museum, she muses in a...