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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
...Fiona I. B. Ngô This essay explores how visibility and sight, but also invisibility and blindness, inform the production of knowledge about subjectivity and subjection in critical refugee studies. I consider Ekleipsis , by the Vietnamese American filmmaker Tran T. Kim-Trang from the Blindness...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 29–61.
Published: 01 September 2017
... mainstream adult video are neither static nor stagnant but rather continually evolving. Despite ongoing blind spots, erasures, and systemic discrimination, the industry's output is increasingly diverse. This article explores mainstream alt-porn as a particularly productive site for locating ruptures, aporias...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2018) 33 (3 (99)): 49–73.
Published: 01 December 2018
... realism that has feminist critical potential. In doing so, this article challenges the gender-blind discourses that characterize much existing scholarship on the Berlin School. Copyright © 2018 Camera Obscura 2018 German feminist film The All-Around Reduced Personality Marseille Berlin...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 36–53.
Published: 01 September 1991
... Starling’s blindness that manages to direct a gun straight at the camera. Starling has been framed and blinded- but blindness (like silence) has a power all its own. To be blind is to avoid being trapped by appearance, it confers the freedom to look back.’ Her shot in the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 165–168.
Published: 01 December 1989
... questions on the borderlines of a range of disciplines, crossing many fields of inquiry precisely at their blind- spots -literary theory’s avoidance of cinematic theory, cinema theory’s avoidance of its own history, cinema history’s own historiographic avoidance of how...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2000) 15 (2 (44)): 75–103.
Published: 01 September 2000
... cen- ter inspectors). At another, in the ultimate ironic gesture, JLG hires a blind woman to edit his films intuitively.22 Vision is thus completely undermined in relation to other senses. But while the film never lapses into randomness, it never totally...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 115–149.
Published: 01 December 2001
... of touch in a nonfetishistic way. The remainder of this essay discusses the dynamics of this correlation of sensual modes not only as exemplified by Mark, but also as refigured mainly in the idiosyncratic conjunction of blindness, touch, and language...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 1–33.
Published: 01 December 2001
... photoconceptualist Suzy Lake in Deflecting the Blind Spot (1996), an M.A. exhibition project curated by Lee Rodney at York Univer- sity in Toronto. These exhibitions constituted important reap- praisals of Wilson’s work, but Peacock’s catalog unfortunately included only...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 105–114.
Published: 01 September 1977
... work. Blind people watching a blind machine. In Comment fa va? the look is threatened, and 113 with it the subject-effect which it controls. Godard's solution-and undoubtedly his deci- sion to use video equipment had a great deal to do with it since it provided him with an endless...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 246–248.
Published: 01 December 1989
... blind to the “other” side of body images- the felt body or lining of the seen or reflected body (see “The Body Electronic” or “Architecture” above) -as well as to the “fourth look” (cf. Willemen), i.e., the social dimension of being caught looking. Insofar as the “female...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 53–67.
Published: 01 December 1989
... ( 1978a ): 105 –21. Reprinted in An Australian Film Reader. Edited by A. Moran and T. O'Regan. Sydney: Currency Press, 1986. Stern , Lesley . “Oedipal Opera: The Restless Years,” Australian Journal of Screen Theory 4 ( 1978b ): 39 –48. Stern , Lesley . “Point of View, The Blind Spot...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 46–63.
Published: 01 September 1990
... Flaubert-who died when Roussel was only three years old-wanted “to stay in and watch the world like a moving diorama” (PW 81). And that Roussel, when he traveled, “always kept the blinds drawn” (PW 79). Theirs was an oblique, and intensely solipsistic, form of spectatorship. Thus...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... “assisted maturity” that allows users to “ignore the surface” and “look deeper” (282); calliagnosia, they argue, “doesn’t blind you to anything; beauty is what blinds you. Calli lets you see” (293). In effect, calliagnosia makes visible not only what beauty conceals but requires us to recognize the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1993) 11 (1 (31)): 48–70.
Published: 01 May 1993
... but an enormous misunderstanding between two cultures, the African and the European, and is based purely on a blind obeisance to colonial usage.4 The recent revival of interest in the origins of the term fetishism has drawn attention to its significance for the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1983) 4 (2 (11)): 6–27.
Published: 01 September 1983
... spectator in the cinema as well. Furthermore, knowledge is equated with this position. 12 johnny's exclusion from the scene, therefore, is signalled as a type of castration / blinding (similar to that which Oedipus undergoes and which Freud comments on in his analysis of "The Sandman...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 90–110.
Published: 01 December 1980
... Rainsford in the trophyroom and the confrontation with Eve by the waterfall, in which the interplay of shot/reverse shot implies an exchange of looks), Zaroff might as well be blind. I, the spectator, who see every shot, almost never lend him my eyes to see(k) the other hegetic characters. Almost...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 332–335.
Published: 01 December 1989
... though I would agree with Diane Waldman’s criticism (1988) that my position runs the danger of reifying the very source of women’s oppression, I still think that the alternative is to remain blind to the resisting potential of works that speak to women in special ways...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 51–56.
Published: 01 May 1992
... fart if he felt like it, leave the blinds down and the toilet seat up, and, above all, eat whatever he damn well chose. He recalled her sitting next to him, her hand on his; the soft skin, frail and translucent, loosely draped over her prominent veins, studded with drab...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 118–121.
Published: 01 December 1989
... heretofore acknowledged. Many such decodings of near canonical films stemmed, at least in part, from gender blindness. In quite different ways, reader-response theory and bouts with deconstruction have led to my current “humanist” bent and to my espousal of the following: as established by decades of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 1–5.
Published: 01 May 2009
... it can be literally faceless and bodiless, offering an escape from a raced materiality, that it encounters us all equally and with color blindness, having no particularity or profile — this is, indeed, a fantasy. As the essays in this special issue make clear, technology is very much faced...