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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
...Pooja Rangan This article investigates the contemporary phenomenon of “child media advocacy,” or the practice of “empowering” child subjects by providing them with media technologies as a means of self-representation. Tracing the genealogy of this practice to an older ethnographic tradition of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 127–155.
Published: 01 May 2012
...Kristen Hatch This essay explores the role that men played — as costars and fans — in Shirley Temple's film career, arguing that Temple's stardom stood at the juncture of two paradigms. It was built upon the fairly stable understanding that male child loving signified men's discipline and restraint...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1986) 5 (3 (15)): 6–35.
Published: 01 December 1986
...Vivian Sobchack © 1986 by Camera Obscura 1986 Close Encounters of the Third Kind (Steven Spielberg, 1977) Child! Alien 1Father: Pa triarchal Crisis and Generic Exchange Vivian Sobchack Two very special babies were born to the American cinema in 1968: Rosemary’s and Stanley...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1990) 8 (2 (23)): 90–107.
Published: 01 May 1990
...Richard deCordova Copyright © 1990 by The Johns Hopkins University Press 1990 Ethnography and Exhibition: The Child Audience, the Hays Office and Saturday Matinees Richard deCordova Everybody is talking about the movies, about what is...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 93–127.
Published: 01 May 2017
... the “naked truth” in Les enfants du paradis (Children of Paradise, dir. Marcel Carné, France, 1945) A Strange Child of Paradise: The Artistry of Arletty’s “Self” in Les enfants du paradis Hervé Picherit “Un drôle d’enfant du paradis” (“A Strange Child of Paradise this is the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
.... Supernanny is a hybrid form of pedagogical television: Third Way TV — a commercialization of the public service model. In a time when public subsidies and the delivery of services like child care have all but disappeared, the institution of commercial television easily fills the gap. Supernanny readily...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
...Kathleen Collins First appearing on the air in 1947, Dione Lucas was one of the earliest television cooking-show hosts. As a business owner, single mother, influential salesperson, and highly respected professional in her field (Julia Child referred to Lucas as “the mother of French cooking in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 1–27.
Published: 01 September 2017
...Aviva Briefel This essay contends that Jennifer Kent's The Babadook (2014) expands the subgenre of maternal horror by exploring reassurance as a fraught motherly act, one that is imbricated with the trauma of having to believe in the child's monsters. The film dissects the rituals that have...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
... child, Temple's adorable characters both naturalized and eroticized the racial exploitation these films celebrated. For in her performances of complex racial, sexual, and gendered masquerades, Temple's characters engaged in forms of passing that were crucial to the domestication of blackness during this...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 1–37.
Published: 01 December 2012
... ideas of racial progress and recombines them with different narratives and ideologies so that audiences may receive them as new and cut off from history. By centering its finale on the survival of one genetically idealized child, Battlestar constructs a new narrative context for an old story that...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
... operatic ingenue with European roots who remains a child in spite of her mature vocal skill. After the beginning of the war, however, her films unsuccessfully attempted to transform Durbin into an American seductress capable of performing in a range of styles even as the studio and her fans were...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
... of race and sexuality, as well as of formulating “queer of color” as a kind of critical modality. Much like Harriet Beecher Stowe's Uncle Tom's Cabin functions, according to Sigmund Freud, as a cultural artifact prized in the form of an idealized beating fantasy by the Victorian (white) child...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1985) 5 (1-2 (13-14)): 148–157.
Published: 01 September 1985
... with Art. Jane Weinstock 150 Paul Smith: Would you begin by describing your Post-Parturn Document? Mary Kelly: Speaking quite generally, it’s an extended documentation, which I began in 1973, of the mother-child relationship. It...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 227–231.
Published: 01 May 1979
... Lyon Mirror Phase (Carola Klein) (1978,46 min., Color, 16 mm) Mirror Phase documents the engagement of a small child, the film- maker’s daughter (Leonie Klein), with her image in the mirror, and from this, her development of identity through the “mirror stage” in relationship...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 16 (3 (48)): 197–227.
Published: 01 December 2001
... are ambigu- ously inscribed with characteristics of both child and adult woman, as a “child-woman.” As I will show, even when she ostensi- bly is cast as an adult, the grown-up Mary Pickford registers as an adolescent “girl” or a child-woman ambiguously poised between childhood and womanhood. As...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1983) 4 (2 (11)): 111–119.
Published: 01 September 1983
... denied them. Pollock also locates this rupture with conventional modes of representing women in Cassatt's famous mother and child paintings. The pictorial "structure of interrelating forms" which dominates these paintings conveys to the spectator not the conventional maternity themes invoked by the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1996) 13 (2 (38)): 116–131.
Published: 01 May 1996
... techno- logies, on the other, it thus delineates new ways of seeing. Seeing Scenes: Mama's Baby The film's interest is divided evenly between Nana Peazant and the figure of the Unborn Child, from whose point of view and via whose voice-over the story is told. The Child is the daughter of Eula and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1985) 5 (1-2 (13-14)): 158–161.
Published: 01 September 1985
... of view, Kelly, a child, who necessarily sees his mother Mary as an image, as an Other. The Post-PartzmDocument, how- ever, does not simply document a child’s desire. On the contrary, this lengthy brief, rather than simply accounting for Kelly Barrie’s development, recounts Mary Kelly’s...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2002) 17 (3 (51)): 149–179.
Published: 01 December 2002
..., Hughie is indirectly responsible for motivating Rae to live—to fight against, rather than toward, the death-in-life (the dead calm) she had been inducing with tranquilizers and dreams of her dead child.1 Read thus, the film depicts the triumph of life over the death drive, the organism’s insistence on...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 103–133.
Published: 01 December 2006
...Nicholas Sammond Camera Obscura 2006 Nicholas Sammond is an assistant professor in cinema studies and English at the University of Toronto. His most recent book, Babes in Tomorrowland: Walt Disney and the Making of the Modern American Child, 1930-1960 (2005), received the Katherine...