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Journal Article

Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior

Clara Bradbury-Rance
Camera Obscura (2022) 37 (3 (111)): 145–177.
DOI: https://doi.org/10.1215/02705346-10013660
Published: 01 December 2022
... Appropriate Behavior (UK/US, 2014), through the lens of citational practice. The author argues that Akhavan employs citational codes that function in Clare Hemmings's words as a “storytelling tactic,” sustaining normative narratives about feminism's recent past. By employing an ambivalent trope...
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Journal Article

Diasporic Erotic: Love, Loss, and the Copy

Mimi Thi Nguyen
Camera Obscura (2013) 28 (1 (82)): 69–101.
DOI: https://doi.org/10.1215/02705346-2016960
Published: 01 May 2013
..., that brings presence into being in the present. That is, the Ao Trang calendar is an archive of citations that builds toward an idea of a diasporic history — disrupted, but also continuous — as an accumulation of copies that serve as evidence for an object of desire's inimitable reproducibility, promising...
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Journal Article

La passion, c'est pas ça

Elisabeth Lyon
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 7–11.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-7
Published: 01 December 1982
... defemme, metaphorically as well as in the form ofdirect citation and appropriation of a figure whose work is as controversial and influential for feminists as Godard’s own: Marguerite Duras. Invoking Duras’s work to stand for a parole defemme, or the possibil- ity of feminine difference...
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Journal Article

Incestuous Wanderlust: 35 Shots of Rum 's Atmospheres of Circulation

Iggy Cortez
Camera Obscura (2022) 37 (1 (109)): 61–89.
DOI: https://doi.org/10.1215/02705346-9561423
Published: 01 May 2022
... that incest serves to illuminate the workings of intertextuality as such. As Eugenie Brinkema notes, citation's felt qualities, “the blurring of boundaries, the flow and movement between two forms, the devouring of texts through iteration” can often appear to breach the boundaries between textual bodies so...
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Journal Article

Erratum

Camera Obscura (2004) 19 (1 (55)): iii–np.
DOI: https://doi.org/10.1215/02705346-19-1_55-iii
Published: 01 May 2004
...; 805-893-7069). Camera Obscura uses The Chicago Manual of Style’s endnote citation format. Submit three copies of manuscripts to Camera Obscura, Department of Film Studies, University of California, Santa Barbara, CA 93106-4010. Indexing and Abstract Listings Alternative Press Index, Art Index...
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Journal Article

Enclitic International Conference on the Textual Analysis of Film

D.N. Rodowick
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 233–237.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-233
Published: 01 December 1982
.... For the other papers, a wide vari- ety of strategies of citation were deployed: slides, film clips, opaque projection, photocopied handouts, 3/4 and 1/2 inch videotape, etc. In every case the innate hostility of technology had to be confronted and it was often difficult to have...
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Journal Article

The Playhouse of the Signifier: Reading Pee-wee Herman

Ian Balfour
Camera Obscura (1988) 6 (2 (17)): 155–168.
DOI: https://doi.org/10.1215/02705346-6-2_17-155
Published: 01 May 1988
...- tainly he is constituted by them: the show would be nowhere without its immense web of echoes, allusions and citations from television history and popular culture generally. (The network of citations, as it were, is usually quite medium-specific in Pee-wee’s work: that is to say, the TV...
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Journal Article

The Jewish Closet in Europa, Europa

Ruth D. Johnston
Camera Obscura (2003) 18 (1 (52)): 1–33.
DOI: https://doi.org/10.1215/02705346-18-1_52-1
Published: 01 May 2003
... in Judith Butler’s definition of identity as “the repetition or citation of a prior authorita- tive set of practices.” 2 Since these practices can include textual prac- tices or conventions, the definitions of identity and intertextual- ity overlap. Because of this overlapping, the juxtaposition of male...
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Journal Article

See Me Now

Bridget R. Cooks
Camera Obscura (1995) 12 (3 (36)): 66–83.
DOI: https://doi.org/10.1215/02705346-12-3_36-66
Published: 01 September 1995
... in her discussion of the problems of historical citation and visual reproduction, however she questions the alternative to reproducing these images of spectacle for a critical goal. She asks, Should we then ignore these images and leave their ideological power unanalyzed, leave them...
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Journal Article

Melodrama's Other: Entrapment and Escape in the Films of Tom Tykwer

Heidi Schlipphacke
Camera Obscura (2006) 21 (2 (62)): 108–143.
DOI: https://doi.org/10.1215/02705346-2006-004
Published: 01 September 2006
.../Postmodern? In addition to the nonlinear narrative elements I have mentioned, postmodern film style is characterized by formalism, pastiche, and overcoded citations of filmic and cultural moments that in Fredric Jameson’s terms engender a “nostalgia for the present.”5 In other words...
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Journal Article

Introduction

Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 5–6.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-5
Published: 01 December 1982
... in 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...
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Journal Article

Humanity Adrift: Race, Materiality, and Allegory in Alfonso Cuarón's Children of Men

Zahid R. Chaudhary
Camera Obscura (2009) 24 (3 (72)): 73–109.
DOI: https://doi.org/10.1215/02705346-2009-010
Published: 01 December 2009
... language of the flm consistently invokes bygone images and places them frmly within the frame. As it progresses, these citations come fast and furious, piled atop one another. They encompass the realms of commodities, news reportage, and art. These visual markers form the background...
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Journal Article

Eisenstein: Notes Towards a Biography

Jacques Aumont, Andrew Ross
Camera Obscura (1985) 5 (1-2 (13-14)): 50–83.
DOI: https://doi.org/10.1215/02705346-5-1-2_13-14-50
Published: 01 September 1985
... the lavish display of culture, the paraphernalia of citations which flow from his pen; hence, finally and above all, his concern to attach himself expressly to the best of all referents-Marxist-Leninist dogma. Thus I examine in Montage Eisenstein what I see as the two major cate...
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Journal Article

Skin Deep: Josephine Baker and the Colonial Fetish

Anne Anlin Cheng
Camera Obscura (2008) 23 (3 (69)): 35–79.
DOI: https://doi.org/10.1215/02705346-2008-007
Published: 01 December 2008
... of discussion beyond the subversion-complicity dyad? How is it that this eccentric and inimitable figure should inspire so much imitation? How do we understand the negotiation of the original and the citational in Baker’s own, much-noted improvisational yet citational style?24 Could we see Baker’s...
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Journal Article

Mourning, Sound, and Vision: Jean-Luc Godard's JLG/JLG

Nora M. Alter
Camera Obscura (2000) 15 (2 (44)): 75–103.
DOI: https://doi.org/10.1215/02705346-15-2_44-75
Published: 01 September 2000
... or overlapping film clips, written or spoken poetry, philosophy, high and low literature, as well as paintings and visual citations functioning as rebus—and concepts such as Walter Ben- jamin’s “dialectical image” or Gilles Deleuze’s “image-events.” But, true...
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Journal Article

Editorial

Camera Obscura (1980) 2 (2 (5)): 3–5.
DOI: https://doi.org/10.1215/02705346-2-2_5-3
Published: 01 September 1980
... of voices in the text, Kuntzel’s article is, on one level, quite literally that-a network of citations from narrative theory, psycho- analysis, film theory, art history. If Kuntzel succeeds in demonstrating a certain obviousness about the ways in which The Most Dangerous Game draws on pre...
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Journal Article

Pathos and Pathology: The Cinema of Todd Haynes

Mary Ann Doane
Camera Obscura (2004) 19 (3 (57)): 1–21.
DOI: https://doi.org/10.1215/02705346-19-3_57-1
Published: 01 December 2004
..., in particular, becomes an affect fully dependent on its own iterability—figures of distance, of separation, of miscommunication are endlessly replayed. But is it necessary to know the source in order to grasp the work of citation? Is the perfect spectator for these films the alert cinephile...
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Journal Article

Re witched : Retextuality and the Queering of Bewitched

Taylor Cole Miller
Camera Obscura (2021) 36 (3 (108)): 1–31.
DOI: https://doi.org/10.1215/02705346-9349315
Published: 01 December 2021
... contributors. Besides convenience and difficulty accessing original airings, citational styles and the publishers who insist on them are also partly to blame for this methodological shortcutting, as their exemplars often stress citing the original air date regardless of which version of an episode one...
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Journal Article

The Incredible Shrinking Star: Todd Haynes and the Case History of Karen Carpenter

Mary Desjardins
Camera Obscura (2004) 19 (3 (57)): 23–55.
DOI: https://doi.org/10.1215/02705346-19-3_57-23
Published: 01 December 2004
... that produced a particular version of Karen Carpenter’s life within its historical and cultural context. For that reason, this essay will explore the degree to which Superstar af- firms and reproduces the norms of conventional cinematic repre- sentation and spectatorial identification—even as its citations...
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“The very palpitation of life!”: “The Leaves Are Stirring” in Context

Ivan Cerecina
Camera Obscura (2022) 37 (3 (111)): 69–85.
DOI: https://doi.org/10.1215/02705346-10013618
Published: 01 December 2022
.... Pacatus” in Nizhegorodski listok on 4 July 1896. This text is translated by Leda Swan in Jay Leyda, Kino: A History of the Russian and Soviet Film (London: George Allen and Unwin, 1960), 407–9. The Méliès citation is reproduced in Georges Sadoul, L'invention du cinéma 1832–1897 , vol. 1 of Histoire...
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