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Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
...Catherine Zimmer This essay explores Cheryl Dunye's The Watermelon Woman (1997) in the context of reflexive practice in film. The film has been variously approached as queer cinema, women's autobiographical and documentary cinema, and black cinema; this essay emphasizes how one might add to all of...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 177–189.
Published: 01 September 2013
... of a daylong series of events sponsored by the Feminist Art Project and organized by art historians Julia Bryan-Wilson and Johanna Burton. Leonard and Copeland took two of her works as touchstones for their exchange: The Fae Richards Photo Archive (1993 – 96), originally conceived as part of Cheryl...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 107–147.
Published: 01 May 2002
...Ann Cvetkovich Zoe Leonard, The Fae Richards Photo Archive, 1993–96. Created for Cheryl Dunye’s film The Watermelon Woman (1996). From a series of seventy-eight black and white photographs and notebook of seven pages of typed text on typewriter paper. The accompanying notes in this fictional...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 165–175.
Published: 01 December 2016
... experimental forms, which include claymation (Goldberg), video animation (Greg Youmans and Chris Vargas), experimental docu- Valencia: The Movie/s  • 171 mentary (Topiary), queer porn (Courtney Trouble and Cronen- wett), campy drag (Lee), video art (Cheryl Dunye), and...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 116–131.
Published: 01 December 2020
... ve recently been showing the film I produced, The Watermelon Woman (dir. Cheryl Dunye, US, 1996), for its twentieth anniversary rerelease and remaster. In Q and As, someone in the audience always says, Oh my God! It is so forward looking. Then I always say, No it is not! It was totally of its...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
... game in the Silent Hill series. It begins with a digital video sequence — or cut scene — depicting Harry Mason emerging from his car, hav- ing crashed on the outskirts of the titular town, to discover that his daughter Cheryl is gone. Players almost immediately take control of Harry’s...
Journal Article
Camera Obscura (1996) 13 (2 (38)): 4–28.
Published: 01 May 1996
Journal Article
Camera Obscura (1990) 8 (2 (23)): 108–131.
Published: 01 May 1990
Journal Article
Camera Obscura (2020) 35 (2 (104)): 95–123.
Published: 01 September 2020
..., rebounds off it, and falls back into the most miserably arranged territorialities of the modern world. 16 At the end of these films, the characters are left desperate and immo- bile. In contrast, in rare examples such as The Watermelon Woman (dir. Cheryl Dunye, US, 1996), Brother to Brother, and Shortbus...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 42–75.
Published: 01 May 1994
..., household type, and so on. Psychograph- ics is about feelings. Both determine what we buy,” explains Cheryl Russell, former editor of American Demographics.6 According to consumer behavior research, “males and females tend to impute a sex, or gender, to product Much as women’s maga- zines...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 86–100.
Published: 01 September 1983
... credits sequence provocatively shakes her head, sending parachuting hair into space. This is an exact replay of Cheryl Tiegs's movement in a shampoo 98 commercial seen a few seconds earlier. The music of The Body Human constitutes the first indicator ofthis change from commercials to program...
Journal Article
Camera Obscura (1999) 14 (3 (42)): 4–29.
Published: 01 September 1999
... indeed the hallmark of the Clinton era, as the filmic narrative and publicity surrounding Copland suggest, then this body demands increasing vigilance to the elements that it excludes more subtly, but no less insistently than the obvious symbolic economy of the hard body. Cheryl Lavin, a reporter...
Journal Article
Camera Obscura (1992) 10 (2 (29)): 57–90.
Published: 01 May 1992
... points out, women’s bodies have been the site of a historical overlapping between the movement for birth control and the ideology of eugenics.47 And as Cheryl Johnson-Odim argues, “the fact that surgical sterilization re- mains free and that federal funding for abortions has been disallowed...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
Journal Article
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... /arthtm. . In a September Chicago Tribune article, “Fast Track. Q&A,” Stewart told reporter Cheryl Lavin, “What I’ve found is that even women working outside the home have a craving to spend time on their homes. It’s what I call my backlash. They are responding...
Journal Article
Camera Obscura (1993) 11 (1 (31)): 96–119.
Published: 01 May 1993
Journal Article
Camera Obscura (2003) 18 (3 (54)): 71–97.
Published: 01 December 2003
... her art and experience to the larger video. Irwin Swirnoff, in “Making the Invisible Invincible: Cheryl Dunye and the Making of Stranger Inside,” chose to document a female artist who was in the process of shooting a feature narrative film about women in prison for which she had collaborated...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 12–31.
Published: 01 September 1995
... her restaurant job because she wore her hair in cornrows. Despite the fact that she wore a hair net, as most food servers are required to do, Ms. Randall was told that she could not return to her job as a food server until she changed her hairstyle. Cheryl Tatum, a restaurant cashier for...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 59–105.
Published: 01 May 2005
...) (France, 1950), the Hollywood social problem film Caged (dir. John Cromwell, US, 1950), Jonathan Demme’s rich exploitation romp Caged Heat (US, 1974), Todd Haynes’s queerly experimen- tal Poison (US, 1991), and Cheryl Dunye’s lesbian homage to the women-in-prison genre Stranger Inside (US, 2001...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
... stylistic and generic con- ventions of popular film, others, such as Cheryl Dunye’s The Water- melon Woman (US, 1997), take up specific historical contexts of filmmaking and moviegoing as their subject matter. Explicit quo- tation of popular cinema frequently takes the form of the found- footage film...