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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
... demonstrates how reality TV contributes to social governance through disciplinary discourse. Although it achieved international success as a global franchise and treated a supposedly universal subject matter, child rearing, it is at first surprising that the program was not localized for the Australian market...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
...Therese Davis The article looks at the contributions of writer and director Darlene Johnson to an emerging Australian Indigenous cinema. It discusses the ways in which Johnson draws on her experience as a young, urban Indigenous woman and her knowledge of Aboriginal culture to explore the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 195–203.
Published: 01 September 2016
...Jasmina Tumbas In this interview, the author and Australian artist Jemima Wyman discuss the position of art and activism in Wyman's artistic practice. Focusing on opacity as a political position in the conception and production of her artwork, Wyman comments on her use of patterns, performance, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 53–67.
Published: 01 December 1989
... Independent Filmmaking in Australia . Melbourne: Greenhouse Publications, 1987 . Blonski , Annette , and Freda Freiberg. “Double Trouble: Women's Films.” The Australian Screen . Melbourne: Penguin, 1989 . 191 –215. Brown , Mary Ellen , and Linda Barwick. “Soap Opera & Women's Culture...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 40–65.
Published: 01 December 1984
...: ‘ ‘Narrative of detached incident. . . ’ ’ The Concke Ogord Dictionary (English) . “A short narrative of a particular incident. . ” The Macquane Dictionary (Australian...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... explore these articula- tions more closely, focusing on the situation in Australian media cultures and two directors working within them to interrogate what these material supports were, the range of what they achieved or produced, and how they changed over time. In Australia, the late 1960s and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 155–157.
Published: 01 September 1995
..., 1997. $35.95. Contesting Tears: The Hollywood Drama of the Unknown Woman by Stanley Cavell. University of Chicago Press, 1997. $14.95. Australian Television and International Mediascapes by Stuart Cunningham and Elizabeth Jacka. Cambridge University Press, 1996...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 174–178.
Published: 01 September 1991
...: Lesbian Theories, Gay Theories edited by Diana Fuss. Routledge, 1991. $15.95. Blackout: Reinventing Women for Wartime British Cinema by Antonia Lant. Princeton University Press, 1991. $15.95. Images of Australia: 100 Films of the New Australian Cinema by Neil Rattigan. Southern Methodist...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 373–377.
Published: 01 December 1989
... Schulte-Sasse. University of Minnesota Press, 1989. $14.95. The Imaginary Industry: Australian Film in the Late 80’s edited by Susan Dermody and Elizabeth Jacka. North Ryde: AEfRS Publications (from the Australian Film and Television School), 1988. Simone de Beauvoir by Lisa Appignanesi. Penguin...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 1–3.
Published: 01 May 2014
... saw the forum as an avenue for a group of newer Australian women scholars to consider how their individual research interests might be brought to bear on a new set of questions and problems for women and film. Our discussion encompassed women’s film practice in Europe, South America, Asia...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 241–245.
Published: 01 December 1989
... of “the female spectator” as a theoretical category with complex but localized functions -and I have found her procedures very useful as a methodological guide in the different situation of some of my own work in Australian cultural studies. 2. It follows that I think the term “female...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
... People Weekly, he also floated “large helium balloons on the [Australian] ranch’s grounds to deter low-flying helicopters (his petition to cre- ate a no-fly zone had been rejected by Australian authorities9 In what might understatedly be described as obsessive perfection- ism, Crowe’s planning...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 34–49.
Published: 01 May 1992
... Australian Journal of Screen Theory , 15—16 ( 1983 ): 57 —66. Figure 1. Hitchcock’s Secret Agency Marty Roth You’ve given my words a meaning that I never dreamed of . . . . Well, they never were that, Brandon, and you can’t...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2007) 22 (3 (66)): 171–178.
Published: 01 December 2007
... scholarship references “Raymond Longford’s produc- tion,” the “jewel of Australia’s silent era,” the company was called Longford-Lyell Australian Picture Productions and Lottie Lyell is now understood as a producer, director, writer, and editor, as well as an actress. For feminism and flm history...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
... festivals throughout 2002 – 3, Caro told me a story.8 Back when she realized she wanted to be a film- maker, Caro applied to an Australian film school, sending in her written application. Then, when a sample was requested, she reluc- tantly sent the little she had. To her delight, she was admitted...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1981) 3 (1 (7)): 144–150.
Published: 01 May 1981
...Rosi Braidotti; Jane Weinstock © 1981 by Camera Obscura 1981 Book Review New French Feminisms: Some Points Re-viewed Rosi Braidotti andJane Weinstock The text which follows is part of a larger, polyvocal response (forth- coming in the Australian feminist journal, Hecute) to New...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... Smaill is a senior lecturer in film and television studies at Monash University. She is the author of The Documentary: Politics, Emotion, Culture (Palgrave Macmillan, 2010) and coauthor, with Audrey Yue and Olivia Khoo, of Transnational Australian Cinema: Ethics in the Asian Diasporas (Lexington...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... Monash University. She is author of The Chinese Exotic: Modern Diasporic Femininity (Hong Kong University Press, 2007); coauthor, with Belinda Smaill and Audrey Yue, of Transnational Australian Cinema: Ethics in the Asian Diasporas (Lexington, 2013); and coeditor, with Sean Metzger, of Futures of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1996) 13 (2 (38)): 4–28.
Published: 01 May 1996
.... Esther Williams was no BevFrancis (the Australian powerlifter turned bodybuilder in Pumping Iron II whose heavily muscled build sparks the controversy that is the film's central conflict); she clearly was a product of the movement toward the heterosexual ideal which Cahn describes...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 40–52.
Published: 01 December 1989
... viewing public. More than 90% of film distribution in Canada is controlled by Americans, 99% of TV shows are American and only approximately 3% of films exhibited in Canada are Canadian. These statistics are even more striking when compared to the Australian context in which 20% of the films...