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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 223–233.
Published: 01 December 1982
...Mary Ann Doane; Philip Rosen Copyright © 1982 by Camera Obscura 1982 Conference Reports Cinema Histories, Cinema PvaLtices Asilomar Conference Mary Ann Doane and Philip Rosen What came to be known as the Milwaukee-in-California conference, entitled “Cinema...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 112–132.
Published: 01 May 1988
...Lynne Kirby Copyright © 1988 by The Johns Hopkins University Press 1988 Railroad Raiders (J. P. McGowan, 1917) Male Hysteria and Early Cinema Lynne Kirby Cinema as we know it, as an institution, as an entertainment based on the mass spectatorship of projected moving images, was...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 95–105.
Published: 01 September 1988
...Lynne Kirby Pascal Bonitzer, Décadrages: Peinture et cinéma (Paris: Cahiers du Cinéna/Éditions de l'Étoile, 1985) Copyright © 1988 by The Johns Hopkins University Press 1988 Painting and Cinema: The Frames of Discourse Lynne Kirby Pascal Bonitzer, Decadrages: Peinture...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 92–111.
Published: 01 May 1992
...Phillip Brian Harper Copyright © 1992 by Indiana University Press 1992 Dressed to Kill (Brian De Palma, 1980) Playing in the Dark: Privacy, Public Sex, and the Erotics of the Cinema Venue Phillip Brian Harper I. Toilet Public sex loomed large in the popular consciousness in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 32–48.
Published: 01 September 1995
...Joy James Copyright © 1995 by Indiana University Press 1995 Stephen Rea and Jaye Davidson in The Crying Game (Neil Jordan, 1992) Black Femmes Fatales and Sexual Abuse in Progressive “White” Cinema: Neil Jordan’s Mona Lisa and The Crying Game Joy lames Neil Jordan’s American...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
...Sangita Gopal; Sujata Moorti In the years since its release, Moulin Rouge! (dir. Baz Luhrmann, 2001) has emerged as the harbinger of Bollywood cinema's growing visibility in the West. We argue here that while the film's visual excesses are immediately recognizable as citing “Bollywood style...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 33–63.
Published: 01 September 2011
... called “Engaging the Eighties.” © 2011 by Camera Obscura 2011 Darth Vader and Marilyn Monroe: icons of air. Courtesy of PhotoFest Panting in the Dark: The Ambivalence of Air in Cinema Kevin L. Ferguson Here is a strange riddle, almost the start of a bad joke: What do Darth...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
...Elena Gorfinkel American sexploitation cinema of the 1960s and early 1970s has gained a second life in the past two decades through a boom in video and DVD distribution and rerelease, and consequently a new, generationally distinct audience. This article proposes that what appeals to cult audiences...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 93–133.
Published: 01 September 2012
...Raya Morag This essay proposes a new paradigm for cinema trauma studies: the trauma of the perpetrator. Recognizing a current shift in interest from trauma suffered by victims to that suffered by perpetrators, it seeks to break the repression of the abhorrent figure of the perpetrator in cinema and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 135–143.
Published: 01 September 2012
..., 2011), Suzy Salamy's 1982/2006 (US, 2006), and Moufawad-Paul's Rejoice, O My Heart / يبلق اي حرفا (Canada, 2011) suggest an irreverent queer strategy by undermining the narrative conventions and visual codes of mainstream news media and popular US and Egyptian cinema. Salamy's video, previously...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 33–65.
Published: 01 December 2013
...John G. Nichols This article traces the formation, activities, and significance of the first amateur cinema club devoted to film study in the US, the Cleveland Cinema Club. From its inception in 1915 until 1968, the Cleveland Cinema Club, an outgrowth of the Cleveland Women's Club, sought to create...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 85–117.
Published: 01 September 2014
...' unruly bodily performances in order to execute their trick techniques, films like Betty let their comediennes run wild in front of the camera, instead making sense of their irrational behavior through postproduction editing. Comedy has always haunted the emergence of cinema both as a narrative...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 6–41.
Published: 01 December 1980
...Elisabeth Lyon © 1980 by Camera Obscura 1980 The Cinema of Lo1 V. Stein Elisabetk Lyon I. . . . this word, which does not exist, is none the less there: it awaits you just around the comer of lan...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 129–159.
Published: 01 December 2015
...Usha Iyer Though popular Hindi cinema is frequently identified by its song-and-dance sequences, little has been written specifically about film dance. This article analyzes film dance and female stardom in Hindi films of the late 1980s and 1990s through an examination of the star text of Madhuri...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 161–187.
Published: 01 December 2015
...Mauro Resmini This article examines a recent tendency in contemporary art cinema—the New French Extremity (NFE)—and focuses specifically on a critique of the scholarly discourse that has flourished around it in recent years. The fundamental argument of this discourse can be summarized as follows...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 16 (3 (48)): 83–111.
Published: 01 December 2001
...Lucy Fischer Camera Obscura 2001 Lucy Fischer is a professor of film studies and English at the University of Pittsburgh, where she serves as director of the film studies program. She is the author of Jacques Tati, Shot/Countershot: Film Tradition and Women's Cinema, Imitation of Life...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2004) 19 (3 (57)): 1–21.
Published: 01 December 2004
..., sound in the cinema, psychoanalytic theory, television, and sexual and racial difference in film. Jonathan Rhys-Meyers as Brian Slade/Maxwell Demon in Velvet Goldmine (UK/US, 1998). Courtesy Miramax Pathos and Pathology: The Cinema of Todd Haynes Mary Ann Doane Because infinity—for the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2005) 20 (3 (60)): 193–231.
Published: 01 December 2005
...Weihong Bao Weihong Bao 2005 Weihong Bao is a PhD candidate pursuing a joint degree in East Asian languages and civilizations and cinema and media studies at the University of Chicago. She is writing a dissertation on aesthetic affect and political modernism in modern Chinese film and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 147–182.
Published: 01 May 2006
...Raya Morag Camera Obscura 2006 Raya Morag is an assistant professor in the Department of Communication and Journalism at the Hebrew University of Jerusalem, Israel. Her research and publications deal with trauma discourse, the New German Cinema, American Vietnam War movies, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... the contemporary global terrain of film festivals and criticism. Bier's recent work demonstrates properties of both art cinema and popular European genre cinema; as a result, estimations of her films' critical and cultural worth have frequently been divergent and arguably gendered. The discussion...