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Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 242–261.
Published: 01 May 1994
...Thomas Streeter; Wendy Wahl Copyright © 1994 by Indiana University Press 1994 Peter Malarkey, “Inside Chicago” 1993. Oil on canvas. Courtesy
Martin-Zambito Fine Art, Seattle, Washington.
Audience Theory and Feminism:
Property, Gender, and the Television Audience...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
... to its online fandom, an audience employing channels of expression from which young people are effectively excluded. These developments function to marginalize the series' core audience—“little girls”—in a process of appropriation and redefinition that ultimately serves the interests of a more visible...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 90–107.
Published: 01 May 1990
...Richard deCordova Copyright © 1990 by The Johns Hopkins University Press 1990
Ethnography and Exhibition: The Child
Audience, the Hays Office and Saturday Matinees
Richard deCordova
Everybody is talking about the movies, about
what...
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in Appear to Disappear: Blackness, Affect, and the Political Imaginary
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2023
Figure 1. Audience member confronts Johari Idusuyi. This photo apparently came from a photoset originating on a tumblr page (commongayboy-deactivated2018082), but it has since been deactivated.
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Journal Article
Camera Obscura (1988) 6 (1 (16)): 154–168.
Published: 01 January 1988
...Robert H. Deming Copyright © 1988 by The Johns Hopkins University Press 1988 Kate and Allie
Kate and Allie: "New Women" and the
Audience's Television Archive
Robert H. Deming
Network television rediscovered the "new woman" again in the Fall 1984
season. Several prime...
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in Archaeological Narrative; or, Nostalgic Fascination with the Obsolete in the South Korean TV Drama Reply 1988
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2024
Figure 1. Media audiences. Reply 1988 (tvN, 2015–16)
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Journal Article
Camera Obscura (2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
...Roya Rastegar Festivals not only select and exhibit films, they also call in audiences and shape the conditions in which these audiences engage with cinema. Drawing from the author's changing personal relationship to cinema culture, and engaging with eleven films that premiered at the 2012 Sundance...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 149–159.
Published: 01 September 2022
...Shana MacDonald Abstract This article looks at the work of the Drunk Feminist Film (DFF) collective from Toronto, Canada. DFF screenings offer interactive in‐person and online events that combine watching popular Hollywood films with simultaneous live commentary, audience participation, and hashtag...
FIGURES
Journal Article
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...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... an “unperforming of the self” through the cultivation of an impersonal intimacy that deferred a fixed subjectivity and frustrated the racial expectations of her audiences. She developed this impersona through three interlocking tactics: a disarticulation of self and song; a reversal of the psychic positions...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 159–191.
Published: 01 December 2008
... bodies are constantly on display and evidently eroticized. The beefcake on display in the peplum is clearly not meant for a straight female audience (the films are rarely more than a series of demonstrations of violent physical strength, often haphazardly strung together), and the films were too widely...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
... roots to a collection of British programs offering advice to parents in the late 1990s and early 2000s, as well as to the longer-standing British tradition of public service broadcasting that sought to “better its audience,” we argue that the program departs from that legacy in its commercialization...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
... and multilayered network of mutual dependency and interactive/interpassive reconfigurations. The article asks in what ways the Twilight films construct or imagine their targeted audience — teenage girls, Twilight moms, and gay men — and how such desires are then consumed, multiplied, and circulated on textual...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 1–37.
Published: 01 December 2012
... ideas of racial progress and recombines them with different narratives and ideologies so that audiences may receive them as new and cut off from history. By centering its finale on the survival of one genetically idealized child, Battlestar constructs a new narrative context for an old story...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... that these filmmakers exploit what I term the audience's cruel knowledge about actresses in order to position the films in relation to the other art forms associated with their actresses (ballet and pornography). Building from the premise that spectacle and excess are necessary to both celebrity and cruelty, I argue...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
... with Romanticism, transforming her into a commodity to be marketed to a modern mass theatrical audience. At the same time, this essay argues that the film questions its own use of spectacle, in particular CinemaScope and Eastman Color, to present its notorious heroine as an object of spectacle for contemporary...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
...Dietrich Squinkifer Coffee: A Misunderstanding is a mobile device–assisted interactive play that explores a fan/creator relationship and the many twists and turns such a relationship can take. The two protagonists, always played by audience members, are Twitter acquaintances who first meet...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
...Kristen J. Warner This article explores the interstitial spaces between positive and negative representations of black womanhood on reality television. It argues that regardless of the presence of supposedly positive images in media, if audiences choose to see black women as “loud,” the symbolic...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
... audience and a boutique show. In addition, the article suggests that the audience is already embedded in the show through affective economies, product placement, extradiegetic activities like blogging, and a more intimate relationship with television executives than ever before. Bravo Media points...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 1–31.
Published: 01 December 2021
... far-right, anti-gay hosts. Bewitched 's ability to appeal to these very different channels’ brands and audiences underscores a textual vigor and sustainability for success in syndication that even the best so-called quality shows today lack. While some may deride a study of syndication (and reruns...
FIGURES
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