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barthe

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... protagonist) that productively learns from and contributes to a sensual, humanistic, and epistemic perception. Combining analyses of Ozu's films (by Noël Burch, Gilles Deleuze, David Desser, and Donald Richie) with film theories (by Roland Barthes, Walter Benjamin, Mary Ann Doane, and Jean Epstein), I trace...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 64–87.
Published: 01 September 1990
... meaning-bearing, and wholly explicable in terms of this function. The semiological image is only incidentally sensed, seen; it is fundamentally to be “read.” It is this dominant set of epistemological assumptions that Roland Barthes’s Camera Lucida3 sets out to deny...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 153.
Published: 01 December 1980
... Barthes, will soon be published. Thierry Kuntzel is currently mahng videotapes, worhng with the Groupe de Recherches Images. He has had several group exhibitions in Paris. He also heads the Atelier Critique of the National Audio-visual Institute (INA), Paris. His tapes include: (1979) Nostos I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 227–229.
Published: 01 January 1988
... by Sharon Willis. University of Illinois Press, 1987. And the Winner Is : The History and Politics ofthe Oscar Awards by Emanuel Levy. Ungar, 1987. $19.50. Criticism and Truth by Roland Barthes. University of Minnesota Press, 1987. $10.95. Conversations with Losey by Michel Ciment, Methuen...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 3–5.
Published: 01 September 1980
... the same way that Barthes wrote about the interweaving of voices in the text, Kuntzel’s article is, on one level, quite literally that-a network of citations from narrative theory, psycho- analysis, film theory, art history. If Kuntzel succeeds in demonstrating a certain obviousness about...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2004) 19 (1 (55)): 77–111.
Published: 01 May 2004
... prehensible roundness, cause my reading to slip? An obtuse angle is greater than a right angle . . . ; the third meaning also seems to me greater than the pure, upright, secant, legal perpendicular of the narrative, it seems to open up the field of meaning totally, that is infinitely. —Roland Barthes, “The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 206–215.
Published: 01 September 1990
... the neck of a battered horse. Or the “pity” Barthes saw in this gesture that seemed to him the very essence of feeling as both uniquely individual and the degree zero of identity); the mother, the primal body of affect, the affect coming from things themselves, flat and irreducible. On...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 216–217.
Published: 01 September 1990
... Mademoiselle Guillotine (Ca- gliostro, Dumas, Oedipe, et la Rholution Franaise) (both published by La Diffirence, 1990). Rida Bensmai’a teaches theory of literature, film and francophone literature Brown University. His is author of The Barthes Effect: Introduction to the Reflective Text...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 133–134.
Published: 01 May 1979
... with Foucault, LCvi-Strauss, Barthes, Metz, Rosolato, Laplanche and Pontalis, and others. An edition of the interviews alone, including a second interview with LCvi-Strauss, has been published. Paris: 10/18 U.E.G., 1978. L’analyse du film. Forthcoming, Paris: Editions de l’Albatros...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 246–247.
Published: 01 May 1979
... working in Paris for the past five years. She has written reviews and articles for several feminist publications. Her Master’s thesis, written while studying with Roland Barthes at the Ecole pratique des hautes etudes, is an analysis of swearwords soon to be published under...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 240–241.
Published: 01 December 1982
...: Selected Writings) edited by Theresa Hak Kyung Cha. Essays by Barthes, Vertov, Baudry, Deren, Huillet and Straub, Kuntzel, Augst, Vernet and Metz. Tanam Press. New York, 1981. Figures of Desire: A Theory and Analysis of Surrealist Film by Linda Williams. University...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 50–66.
Published: 01 September 1977
... approached from the viewpoint ofRoland Barthes- and Sylvie Pierre> in their work on the photogram: the search for the way in which film ac- cedes to significance. In the examples they discuss, this significance is intimately linked to the photographic nature of the filmic image: the ef- fect of presence...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 32–69.
Published: 01 May 1979
...: Lecture de Barthes . Paris: Fayard, 1974 . Thierry , Kuntzel “The Film-Work.” Enclitic , Vol. 2 , 3-1 (Spring, 1978 ); “Le travail du film.” Communications 19 , ( 1972 ) Thierry , Kuntzel “Le Défilment: A View in Close Up.” Camera Obscura / 3-1 (Fall, 1977 ); “Le défilement...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 127–136.
Published: 01 September 1988
... reflections about subject matter and rhetorical presen• tation that dominated even the best American film writing at the time) is simultaneously indebted to the prestige of Levi-Strauss's structural anthropology and to Roland Barthes's Mythologies. Their suspicion of surfaces...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
...-disappearance.­ — Roland Barthes, The Pleasure of the Text But I do believe the melancholia evoked by a dying image may produce not dread but a loving regard. — Laura U. Marks, “Loving a Disappearing Image” On the twelve-­by-­twelve cover photograph for the 2009 Ao Trang calendar (fig. 1), a young...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 142–147.
Published: 01 December 1989
..., at most, imperfectly occupied. This is the meaning of Roland Barthes’s claim that “the reader is without history, biography, psychology; he [sic] is simply that someone who holds together in a single field all the traces by which the written text is constituted” (Barthes 1977a, 148...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
...,” Roland Barthes describes the relationship between the wrestler as spectacle and the public as spectators. He argues that, like an audience at a suburban cinema theater, spectators come to the scene without outside notions in order to absorb the spectacle as a pure and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 98–124.
Published: 01 September 1990
... example of the horse’s gallop . . So, historically, but also formally, the long-exposure photograph would be opposed to that of the snapshot which was to become the essential material of cinema. Roland Barthes, for whom every photograph is in the final analysis a pose...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 4–6.
Published: 01 September 1990
... photographic image whose mute space Roland Barthes described in similar terms: “it cannot say what it shows.” The narrator of Steve Fagin’s videotape tells us that the fathers of Gustave (Flaubert) and Raymond (Roussel) never spoke: “At least their mothers spoke to them. A tongue taken from an...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 71–75.
Published: 01 May 1976
... very well appreciated by Fernando Torm, her (presumed) lover. (' 'He has seen it a hundred times. ") The film ends with a 'real performance', a series of imitations of stills from G.W. Pabst's Pandora's Box or Lulu. The other performers are)ohn Erdman, ShirleySoffer, Epp Kotkas,)ames Barth...