...Olivia Landry Abstract The 2020 Netflix drama series Unorthodox draws on tropes from a vexed archive of transcultural cinema, in particular Turkish German cinema. Through the frame of the captivity narrative, this essay examines how the series about a young Hasidic Jewish woman who escapes her...

... , and English Studies in Canada . Currently she is working on a book on violence in film and stage versions of Shakespeare's plays. Catherine (Jennifer Lopez) as subjected beauty: the viewer’s “full prize,” in The Cell (dir. Tarsem Singh, US/Germany, 2000) Hook and Eye: Violence and the Captive Gaze...

... to use domestic labor as a form of world-making. At odds with the way the domestic realm is presented by the women’s movement as what keeps women captive in a never-ending cycle of repetitive, meaningless work, the essay argues that Robertson records her domestic labor as not just a means to an end...

.... Stephanie, in Audiard's film, has both her legs amputated after an accident at her job training orca whales. The mute Eliza, in del Toro's, falls in love with an amphibian creature held captive in the laboratory where she works as a cleaner. Why these invocations of the sea and its creatures? What makes...

... Visions of Technology and Fear. Rochester, NY: Camden House, 2000. Mortimer, Barbara. Hollywood’s Frontier Captives: Cultural Anxiety and the Captivity Plot in American Film. New York: Garland, 2000. Rogoff, Irit. Terra Infirma: Geography’s Visual Culture. New York: Routledge, 2000...

..., but in the visual “study” of the design itself. In this scenario, study does not signify masterful omniscience over an object, but an infinitely suspended state of captivation. In place of the investigative gaze that directs perspec- tive and, facilitating narrative progression, affirms the viewer’s sense...

... 2006 Call for Papers Camera Obscura is planning a special issue titled Fabulous! The Diva Issue.   From actual goddesses to twenty-first century divinities in film, television, and popular music, the figure of the diva has captivated, inspired, and appalled. She (and, maybe, he...

... designed to captivate her.2 In the following pages, I examine the politics of Baker’s mobility and her complicated staging of race, sexuality, and nation- ality by interpreting her performances, on stage and screen as well as off, through the lens of spectatorship and reception. I...

... of the Anthropocene denies them. Let me insist on what seems to be the (at least) double valence of the term flesh as it interrupts and weaves the text into its openness. In the New World, the history of Blackness has unfolded as a history of captive flesh, its torments so extreme and widespread that being itself...

... and thus equalizing their artistic powers. In Captivating a Man (1972), another performance where she used makeup to enact a kind of double drag, Wilson repris- ed the theme of captivation, artistic identity, and gender. But where makeup...

... with it. It is as if this scene figured the concentration of all erotic energy in the gaze, a gaze captivated by a pornographic home movie; that is, as if the image of sex were more seductive and engaging than the fictional “real” sex. At the same time, this scene participates in the film’s general tendency to frame...

...-first century divinities in film, television, and popular music, the figure of the diva has captivated, inspired, and appalled. She (and, maybe, he?) is larger than life and carries with her the cultural and psychic baggage of individuals, communities, and nations. We are looking for essays...

...-first century divinities in film, television, and popular music, the figure of the diva has captivated, inspired, and appalled. She (and, maybe, he?) is larger than life and carries with her the cultural and psychic baggage of individuals, communities, and nations. We are looking for essays...

... India. London: British Film Institute, 2002. Creed, Barbara, and Jeanette Horn, eds. Body Trade: Captivity, Cannibalism, and Colonialism in the Pacific. New York: Routledge, 2001. Dance, Robert, and Bruce Robertson. Ruth Harriet Louise and Hollywood Glamour Photography. Berkeley...

...! The Diva Issue. From actual goddesses to twenty-fi rst century divinities in fi lm, television, and popular music, the fi gure of the diva has captivated, inspired, and appalled. She (and, maybe, he?) is larger-than-life and carries with her the cultural and psychic baggage of individuals...

...! The Diva Issue. From actual goddesses to twenty-fi rst century divinities in fi lm, television, and popular music, the fi gure of the diva has captivated, inspired, and appalled. She (and, maybe, he?) is larger-than-life and carries with her the cultural and psychic baggage of individuals...

... it, questions posed here in a profoundly pessimistic form. Both times it turns up in the film, the story is told by a prisoner: first jody, and later his former captor, Fergus. The visibly external terms of both men's captivity raise the question of whether the similarly imprisoned...

... of human discourse, as they reassume their fixed position as an outside to human culture. One need only to remember that the star of Free WzZZy was none other than a very captive whale-and few seemed disturbed by this acrid irony-to realize that human fantasies of ani...

... Garland, on the other hand, encourage a shared emotionalism, vulnerability, and perseverance that can be equally captivating to gay audiences. Still, neither of these archetypal relationships sufficiently explains your appeal to me as a young boy. While the role of change and transformation...