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auteurism

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Journal Article
Camera Obscura (2007) 22 (1 (64)): 43–75.
Published: 01 May 2007
..., 1946) Courtesy Photofest “One Right Guy to Another”: Howard Hawks and Auteur Theory Revisited Varun Begley If one tried to imagine the literary criticism of a patriarchal culture, one might predict several likely concerns: (1) that the role of the author would be conceived...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 155–185.
Published: 01 May 2021
... the Oscars Nominee . . . incredible.” 1 Varda's unconventional luncheon appearance garnered much attention from the American press, as did JR's multiday trip to the luncheon accompanied by a few cutouts of the legendary French New Wave auteur, which he documented on his Instagram feed before taking...
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Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
... on the avant-garde, appeared to fly in the face of the alleged dumbing down of television that critics identified in the period. I explain its popularity through its investigation of television itself as both a medium and an industry on several levels: through its branding as an artistic auteur product...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
... Frames per Century (Italy, 2013), Chevalier (Greece, 2015), and Trigonometry (BBC, 2020), reveals Tsangari's authorial signature and how Tsangari's films ambivalently bene fit from “wave” marketing even as their reception bears out the costs of that uncomfortable fit. Paradoxically, Tsangari's auteur...
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Journal Article
Camera Obscura (2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... female auteur and to her provocative exploration of youthful sexual identity and fantasy, Koh's condensed-form queer interpretation circulates more productively as part of a burgeoning queer Asian cinema. Unlike New Queer Cinema, which was gradually co-opted by the mainstream as US independent filmmaking...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
..., and avant-garde cinemas has generally been acknowledged by displacement, in literal or qualitative rubrics no longer recognized as historical (auteurism). The impact of media feminisms is personalized and dehistoricized in the contributions of individual female directors, either by being alphabetized...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
... to advance their critique of “managed life” during postwar economic growth. My readings focus on films by pink auteur Wakamatsu Kōji as well as roman poruno directors that feature residents of danchi — Japanese high-rise apartment complexes built to solve the postwar housing shortage. Wakamatsu maps...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 146–153.
Published: 01 December 2011
... Bigelow's age and appearance, as well as her relationship with former husband and director James Cameron. Overall, Bigelow's public persona exists in a kind of no-woman's land. It includes male traits typically deemed necessary to achieve auteur status and sufficient female traits to soften her image...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
... as an auteur and coalesce into a new paradigm for representing female figures who might otherwise lose representability in both mainstream cinema (dominated by market forces) and alternative cinema. For one, she intervenes in a monolithic representational landscape of first-world, white, middle-class...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... (Duma). Consequently, Germanika has become visible as an auteur who operates simultaneously between several historical, conceptual, and industrial formations: as a female director in a still male-dominated post-Soviet cinema industry, as an independent director in a production landscape defined by large...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
... or independent film proper. Seldom, however, are these female directors absorbed by the promotional rhetoric of “Indiewood.” Specifically, their authorship rarely fits the mold celebrated by this discourse, which is that of the “maverick” star auteur—for example, Charlie Kaufman, Wes Anderson, or Todd Solondz...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 120–126.
Published: 01 September 1988
...) to auteurs like Bresson or Bufiuel who in the first volume had been analyzed in terms of classical narrativity, More generally, the very foundations of the first volume tumble down in the second: the first volume proceeds by means of categories leading to traditional divisions in the history...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 41–74.
Published: 01 September 1993
... functions. “Funniness and scariness in the words of the film geek-turned-auteur are “two great tastes that taste great t~getherBy appropriating a jingle this way, Tarantino mimes the discourse of Pulp Fiction, a film that, like Res- ervoir Dogs, self-consciously speaks...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... as not only a necessity but also part of a larger aesthetic and political program. Due to the enduring influence of auteurism, however, there is a lack of critical paradigms capable of addressing such relations, and thus it can be difficult to recog- nize, let alone name, them. Indeed, the trend...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
... The Name above the (Sub)Title • 5 ten rules of art cinema culture is not simply a preference for but the absolute exigency of the subtitled print, and clearly these rules do not apply for popular or low genres. The name of the auteur...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 210–215.
Published: 01 December 1982
... positions in these films, according to the old- est presuppositions of auteur criticism, through dialogue, situations, in short, through the narrative content of the films. This is indeed a surprising method of interpretation coming from writers who have been involved with Screen and who have led...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
... and formal- ism, the films’ action seems more coordinated than directed, even as their palettes and sound mixes, performances and locations, narrative ellipses and shot durations exhibit, on the auteurs’ side, a control that their characters themselves cannot exercise. With near unanimity...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
... that reflexively capitalized on the medium’s potentialities in its twi- light. Second, I will discuss The Water Magician within a history of Mizoguchi’s oeuvre. This reference to the auteur enables us to investigate the collaboration between the actress and the director both in the film’s historical context...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
.... In both countries, the relation to the West was at once one of resistance and perceived inferiority. However brief, the interwar period was an important cultural interlude during which the potential of mass media for the production of a public sphere was recognized by cinema auteurs, film...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
..., and Popular European Cinema: The Worlds of Susanne Bier Belinda Smaill Several perceptive contextualizing studies of female directors have recently moved beyond codified formulations of the auteur.1 Instead of focusing narrowly on the expressive qualities of a direc- tor’s oeuvre, much...