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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
... wish to join this conversation and realign it slightly according to a certain technical and social landscape that one might call “viral,” “contagious,” “parasitical,” or, even more broadly, “systemic.” More specifically, I wish to continue Chow's investigation into the self-referential nature of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... turns to The Watermelon Woman to suggest how reflexivity might be used otherwise. A discussion of the film's reflexive movements illuminates the ways that certain feminist filmmaking practices, though highly influential, are excluded from theoretical discussions on modes of cinematic discourse and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
... to which gameplay can exist independent of playable protagonists, and the gendering of video-game goals and objectives are considered. Despite conforming to certain masculine activities—fighting, collecting weaponry, exploring and dominating space— Silent Hill complicates such aspects through the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
... ideational. Cuarón's film deploys certain cinematic strategies to represent difference: from disjunctures between sound and image and a cinematic obsession with lingering on “incidental” details that lends them allegorical significance to an extended chase sequence. The place of race and biopolitics in this...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 63–93.
Published: 01 December 2011
... Diane Borsato, the article examines some constellations of women's bodies and pleasures created in porn and reperformance. These constellations can enable new forms of pleasure and new bodily interrelationships. But they can also reproduce certain forms of privilege, as occurs in the reproduction of the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
... more motivation, vision for the future, and sense of personal and domestic power than her husband. This article explores the complexities of Jones's star image in 1955–56 through a series of production memos authored principally by her husband, producer David O. Selznick. To a certain extent, writer...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
... schoolgirl — for the collocation of chronological and nonchronological times with the heterogeneous spaces of diaspora. But the diasporic archive that is this calendar also illumines for us certain media for ensuring a beloved body's continued presence, the photograph and also the calendar being formal...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
... into alignment. What this essay explores is a certain perversion of these forms of temporal matching — or what I am calling queer sound tracks: image-sound relations unfixed in ways that are not only dynamic aesthetically but that also evoke an affective, diachronic bond to the past. What is heard...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 159–167.
Published: 01 December 2013
... pleasurable investments of certain communities of viewers. Wood's and Doty's “low” archives were their own personal experiences and contingent affective responses. These are the very foundations of queer theory, grounded in what Eve Kosofsky Sedgwick identified as antihomophobic critical practice, that Wood...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
...' critiques of the drama's portrayal of sex, love, and relationships. Through a critical examination of these two facets, I argue that the drama brought a certain complexity to the representations and discussions of emotions and economic struggles of urban citizens in contemporary Chinese society. However, in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
... Koreans' attention to the vibrant facade of the city, a long-forgotten facet of the dark colonial era. It stresses that these films, through their regeneration of lost cultural imagery on the screen, evoke a certain sensibility that is commensurable with guilt. For instance, in a climactic scene in Modern...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... the conditions of certain types of failure, in which discord runs high and the individual self lacks cohesion, poetic, relational networks arise. Such networks include in their processes the shadowy, unnerving aspects of discord along with the sharing of capacities. This article argues that, beyond...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 65–97.
Published: 01 December 2016
... writing initiatives and the failures and disappointments experienced in such projects, which can be seen as participating in a promise economy. “Promise economy” refers to a cultural economy that is based, or dependent, on certain promises that are inscribed in collaborative cultural practices such as...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 101–127.
Published: 01 May 2015
... defending the show's use of “guido.” This notion of care needs to be understood in a double sense: care as a regimen of behaviors, or an ethos, and care as a set of affections, or feeling. On Jersey Shore “taking care of oneself” does not just involve certain affect-techniques but is itself a technology, in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 187–201.
Published: 01 May 2016
... the photographed person, or the motivation to initiate certain projects is troubling or even coercive. This article, written with the collaborative input of Ewald and Meiselas, focuses on our work's basis in the assumption that collaboration always already lies at the basis of the event of photography...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2018) 33 (1 (97)): 1–27.
Published: 01 May 2018
...Özgür Yaren This article explores trash erotic productions in 1970s Turkish cinema. What was popularly referred to as the “sex influx” ( seks furyası ) was the result of persistent economic and political crises and symptomatic of the ends of certain cultural and economic modes dominant in film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
... awkwardness to give affective expression to cruel optimism. Finally, she reworks the chick flick to implicitly reject certain postfeminist, neoliberal premises. Copyright © 2018 Camera Obscura 2018 Maren Ade chick flick representability postfeminism precarity awkwardness ...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 5–6.
Published: 01 December 1982
... the U .S., Sawe qui peut (la vie), they are meant to be read as related pieces. We chose this way ofraising certain issues with respect to the film (violence and enunciation, pornography and eroticism, the citation of the work of Mariguerite Duras and her fictional inclusion in the film) in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 70–103.
Published: 01 May 1979
..., Gigi, who lives alone with her grandmother, on the other side a young man, Gaston, surrounded by mistresses) to the final resolution (the marriage of Gigi and Gaston). Now this narrative transformation is very precisely determined by the repetition-resolution effect which organizes a certain...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 204–209.
Published: 01 December 1989
... narrative reen- actment of the Oedipus complex and the psycho-perceptual founda- tions of viewing, namely, how the cinema crystallizes certain economies of looking rooted in psychic agendas. This focus on the psychic register of cinematic experience described a crucial dimension of spectatorship...