1-20 of 39 Search Results for

becoming-imperceptible

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Image
Published: 01 May 2021
Figure 1. Becoming-imperceptible: Visages Villages ( Faces Places , dir. Agnès Varda and JR, France, 2017) and Varda by Agnès ( Varda par Agnès , dir. Agnès Varda, France, 2019) Figure 1. Becoming-imperceptible: Visages Villages (Faces Places, dir. Agnès Varda and JR, France, 2017 More
Journal Article
Camera Obscura (2021) 36 (1 (106)): 61–85.
Published: 01 May 2021
...Figure 1. Becoming-imperceptible: Visages Villages ( Faces Places , dir. Agnès Varda and JR, France, 2017) and Varda by Agnès ( Varda par Agnès , dir. Agnès Varda, France, 2019) Figure 1. Becoming-imperceptible: Visages Villages (Faces Places, dir. Agnès Varda and JR, France, 2017...
FIGURES
Journal Article
Camera Obscura (2011) 26 (2 (77)): 33–63.
Published: 01 September 2011
..., the invisible, ubiquitous element of air has been wholly ignored as a medium for ideas. Yet despite being challenging to read, air gains power because of its relative invisibility, and after being transmuted by breathing into a legible cinematic sign, it marks sites where otherwise imperceptible ideas become...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 187–193.
Published: 01 September 2016
...? Notions of imperceptibility, proliferation, accumulation, and nonfilial progeny are each explored to advance a politics that can respond to contemporary critical theory and materiality. Imperceptibility explores the ways in which plastic influences the world without being influenced in turn. Proliferation...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 1–31.
Published: 01 May 2005
... grudg- ingly concede the necessity of the latter for women as a social group. It is hard to see any common ground between suppos- edly molar feminism, which aims at the visible self-defi nition of a social group, and becoming-woman, conceived as a preliminary to “becoming-imperceptible.” Moreover...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 149–153.
Published: 01 September 2016
... of the female body's objectification and also a catalyst for collectivization. Heather Davis argues that plastic is an opaque queerness, and Nathan Lee writes on the condition of being HIV undetectable as an optimistic imperceptible relationship to one's body. Across these texts, opacity operates...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 167–173.
Published: 01 September 2016
... — gendered, geographical, racial, economic — it connects with. If undetectability and the rise of PrEP (pre-­exposure prophylaxis) are, from the standpoint of a politicized epidemiology, phenomena localized among popula- tions with access to HAART, they have nevertheless become con- stituent...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 28–59.
Published: 01 September 1983
... to the set proportions of a drama oriented toward its conclusion. The classical film thus becomes the point of departure [from which] another film might be imagined: a film in which the initial figure would not find its place in the flow of a narrative, in which the configuration of events...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 206–215.
Published: 01 September 1990
...; or Mankiewicz’s Letter to Three Wives, where three letters-addressed by one woman to three other women- carve a furrow of secrecy into the placid surface of things. The letter is like a one-way street. Even when it names a supposedly “real” interlocutor and through this tends to multiply, to become...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 100–110.
Published: 01 September 1980
.... But we have forgotten the context. Throughout Thriller Laffont slips imperceptibly from role to role. She is Mimi the investigator examining her own death, Mimi the object of the first Mimi’s inquiry, and Musetta “the bad girl, the one who didn’t die And perhaps there is yet another Laffont...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
.... What becomes evident is how easily work like Almy’s latest high-tech pieces can move across the often imperceptible boundary between commercial TV and video art. The Early Work In Almy ’s earlier, multi-monitor performance pieces, and particularly her Modern...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 27–38.
Published: 01 May 1976
... absence ofactivity provokes questions about the shot asa unit of filmic signification. 08 This segment isdivided into three I 'takes" , with more obvious experimen- tation than in shot 4. Rather than simply a series of repeated actions, the lighting becomes increasingly brighter...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 93–104.
Published: 01 September 1977
... the analyst's curiosity, pulling him away from his fetishistic desire into the regressive pleasure shared by the rest of the 'naive' spec- tators. Cinematographic 'tricks' which are used to produce special effects may be explicit or so finely tuned that they become invisible and impercepti- ble...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
...). The Day I Became a Woman (dir. Marziyeh Meshkini, Iran, 2000) Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini’s The Day I Became a Woman Michelle Langford Why should I stop, why? The birds have gone off to find water ways the horizon is vertical and moving...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 192–209.
Published: 01 December 1982
.... Thus, the numerous possible linguistic options become elements in a large scale montage that operates in the sphere of language. This phenomenon of montage-within-an-information-channel can be seen even more clearly in the case of socio-political markers of language use...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 226–242.
Published: 01 May 1997
... and to invoke the antiquated high-school English “man 228 vs. nature” theme that has become an oddly popular refrain. The histrionic video jacket of Carnosaur, for example, announces: “They breed like rats. They prey like the plague. It’s man against the most vicious beasts...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 67–92.
Published: 01 September 1977
... the more imaginary, body. But then, almost right away, the camera, progressively, imperceptibly, begins to immobilize itself, sanc- tioning this separation without detracting from the almost excessive regu- larity of the walk: the time it takes to end a shot of a long duration...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 69–87.
Published: 01 May 2008
... 10.1215/02705346-2007-024  © 2008 by Camera Obscura Published by Duke University Press 69 70  •  Camera Obscura a frenzy, making herself become The Rose once again — gives way in the next scene to the rhythm of the pulsating, restless audience waiting for her, chanting her name, stomping...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 6–27.
Published: 01 September 1983
... and attaches itself to the figure of the woman. The spectacle constituted by the cinema imperceptibly becomes the spectacle of the woman by means of a certain sliding of signification. This relation, too, is paradigmatic for the cinematic institution and its representation of women. As Laura Mulvey...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 35–83.
Published: 01 May 2003
... European descent is that “the old country” becomes a sign without referent, an imaginary construct with no actual geo- graphical correlate. Akerman’s D’Est approaches this historical chasm in a particularly striking way, attempting as it does to reach across the divide while simultaneously conceding...