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1
Journal Article
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... Shortbus queer cinema performance Figure 1. Performing permeability in Shortbus
(dir. John Cameron Mitchell, US, 2006)
A Permeable Practice:
Shortbus and the Politics of
Cinematic Collaboration
Corinn Columpar
There is a scene in John Cameron Mitchell’s Shortbus (US, 2006...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
..., viewers are awakened to the unfortunate history of Japanese colonialism and thus experience a feeling of regret or melancholy for the past. This cinematic encounter with the past also resonates with cultural imagery of Seoul as a forgotten colonial city that has reemerged across Korean society, especially...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 1–43.
Published: 01 May 2000
... the cultural logic of purity and feminist studies of the body in the contemporary literature and cinema of exile. CO 43-1, 1-43 6/6/00 2:47 PM Page 1
Cinematic Exile: Performing
the Foreign Body on Screen
in Roman Polanski’s The Tenant...
Journal Article
Camera Obscura (1992) 10 (3 (30)): 4–33.
Published: 01 May 1992
...Rebecca Egger Illustration from John Scotland, The Talkies
(London: Crosby Lockwood and Son, 1931).
Deaf Ears and Dark Continents:
Dorothy Richardson’s Cinematic Epistemology
Rebecca Egger
As feminist film theory moves beyond its long-standing preoccupation
with feminine...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 11–26.
Published: 01 May 1976
... An 'Interrogation of the Cinematic Sign:
Woman as Sexual Signifier in
Jackie Raynal's Deux Pois
Deux Fois, made in 1970 byJackie Raynal, a French film editor, was cho-
sen as a text for analysis because it foregrounds and focuses many prob-
lems we consider...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 87–113.
Published: 01 December 2022
... will, and ask not who but what comes after the subject. When I suggest that we consider the Anthropocene as a cinematic view, I position myself in the trail of these contributions and the emphasis they place on catastrophic emplotment. Yet I also want to call attention to the fact that the deadlocked...
FIGURES
Journal Article
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
.... 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 film...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 125–157.
Published: 01 December 2013
... Hollywood musical, Vallois creates a cinematic experience that merges historical film aesthetics with the late 1960s and early 1970s homosexual movement unfolding in France. Through a self-conscious film-within-a-film narrative, Johan provocatively commingles several genre forms (documentary, the musical...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 37–61.
Published: 01 September 2020
... as a terrain of struggle, the essay mobilizes an analysis of the 2014 film Selma to illuminate the multiple resonances of the concept representation . Focusing on the film’s representation of women and girl characters, the essay argues that cinematic play with the terms and conditions of representation comment...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
... misunderstood, Gelley contends, not primarily because of the transgressive nature of their subject matter but, more importantly, for the negativity and ambivalence of their critique and the way in which they reinvent the conventional cinematic language of heterosexual intimacy. Fat Girl is one instance...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... of these discussions and explore their interrelations, by looking at the film through a history and analysis of cinematic reflexivity. As a metacinematic work both by and about an African American lesbian director, the film has much to say about the means of its own production and, even further, about the way...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... and alternating between documentary-like scenarios and quiet, evocative cinematic pauses on the natural world, After Life contrasts a bucolic landscape with the spectacle of film production. Moreover, After Life privileges the transformative potential of a benevolent gaze (subjectively held by its female...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... that is expressed in both the film's narrative and in its cinematic apparatus. The Mizrahi woman's unceasing daily encounters with class and gender oppression, which she comes to internalize, constitute an ongoing trauma. The chronic nature of this trauma does not allow her to turn it into post-traumatic memory...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
... as structure. This article suggests that Moulin Rouge! is indeed global cinema in the sense that it weds two cinematic traditions—Bollywood and Hollywood—yet it is hardly a marriage of equals. The global cinematic aesthetic Luhrmann promotes relies on Bollywood elements primarily to revivify Hollywood...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
..., neither of the films manages to evade the racism that dominated cinematic portrayals of Africa in the previous century. Both films model their central characters on archetypes and imagine an Africa in which whiteness is normative and in which white masculinity connotes agency. Narrative and cinematography...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 33–63.
Published: 01 September 2011
..., the invisible, ubiquitous element of air has been wholly ignored as a medium for ideas. Yet despite being challenging to read, air gains power because of its relative invisibility, and after being transmuted by breathing into a legible cinematic sign, it marks sites where otherwise imperceptible ideas become...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
... but deliberately decentering sensory saturation as a novel and poignant cinematic enactment of feminine difference. Fruit 's vivid multidimensional expressive modality, we posit, provides a curiously fecund opening beyond the margins of the conventional symbolic order, pursuing through its feminine-feminist...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 163–183.
Published: 01 May 2019
.... In Akerman’s films, history insists, returns, refuses to disappear. Memories are haunting and haunt those who were, and are, persecuted. The conference examined Akerman’s cinematic strategies of taking time to forget in transforming the traces of history into resistive forms. In working with cinematic forms...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 91–117.
Published: 01 September 2022
... Foundation's 2018 documentary film The Girl and the Picture , featuring the well‐known Nanjing Massacre female survivor Xia Shuqin. It argues that the cinematic rendition of Xia's family stories serves as a piercing incision into Nanjing Massacre historical memories and weaves together the personal...
FIGURES
Journal Article
Camera Obscura (2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
... of documentary address, representational regimes, and cinematic and verbal language are important areas of political interrogation. Each film is a complex construction in which the “real” is only one element in an affective and reflexive architecture of performance, fiction, poetry, and the intuitive...
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