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Camera Obscura (2018) 33 (1 (97)): 1–27.
Published: 01 May 2018
... of contemporary pornography as compensatory fantasy, the article suggests that the actions of the working-class heroes of exploitation films symbolize revenge for powerless masses of the working class and underclass. It also argues that sex films, which started out as exclusively sexist and misogynistic...
Camera Obscura (1988) 6 (1 (16)): 78–116.
Published: 01 January 1988
...George Lipsitz Mama The Goldbergs The Meaning of Memory: Family, Class, and Ethnicity in Early Network Television Programs George Lipsitz Almost every Friday night between 1949 and 1956, millions of Americans watched Rosemary Rice turn the pages...
Camera Obscura (2011) 25 (3 (75)): 1–27.
Published: 01 December 2011
... in relation to this decisive moment in the transition to neoliberalism in Britain, recognizing its sympathy for the miners as well as the ideological limitations to that sympathy generated by the focus on Billy's trajectory out of his class and toward the metropolis. That trajectory is symbolically freighted...
Camera Obscura (2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
..., they are nonetheless geopolitically and historically specific, consistently focusing on the awkwardness of white, heterosexual, middle-class, professional German women and what Lauren Berlant refers to as the “cruel optimism” that renders their seemingly privileged existence precarious. Ade distinguishes herself...
Camera Obscura (2017) 32 (3 (96)): 33–61.
Published: 01 December 2017
... diversity, these co-constructing representations of race, class, gender, and sexuality maintain whiteness as sexual modernity’s affective core. Modern Family thus expresses the ideological contours of mainstream diversity politics. However, its narrative efforts to synthesize its contradictions reflect...
Camera Obscura (2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... by the greater economic insecurity that middle-class women have been facing post–Great Recession but also by a variety social factors that generate feelings of immobilization and isolation. Abjection is often a principal sign of these characters' precarity—they inhabit spaces where they often recoil from others...
Camera Obscura (2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... argue that Or, My Treasure is a critical Mizrahi feminist film that exposes the hegemonic social gaze as a political mechanism of power and violence that terrorizes the Mizrahi female body. The ethnic, class, and gender oppression of the Mizrahi female subject creates a traumatic experience...
Camera Obscura (2015) 30 (1 (88)): 41–69.
Published: 01 May 2015
... overidentified with the particularly racialized, classed, and gendered figure of the couch potato has been remade in recent years as an engine of “leaner” citizenship? Situating this turn in genre and address against the backdrop of shifting corporeal ideals in late liberalism as well as developments in media...
Camera Obscura (2009) 24 (1 (70)): 67–107.
Published: 01 May 2009
... in the same era. The reconfiguration of privacy is also linked to how race, gender, and class are articulated visually in nineteenth-century media culture. Thus drawing on histories of photography and consumerism, legal history, and cultural theory, as well as on the visual archive of the original Aunt Jemima...
Camera Obscura (2009) 24 (2 (71)): 107–137.
Published: 01 September 2009
...Suzanne Gauch Relating the trajectory of a young Franco-Moroccan woman who returns to her native city of Fez and embraces a mystical form of Islam, Farida Benlyazid's 1988 feature film A Door to the Sky has become a mainstay at international women's film festivals and in classes on gender...
Camera Obscura (2011) 26 (1 (76)): 1–37.
Published: 01 May 2011
... the ways in which some fashion-themed blogs refuse neoliberal fictions of freedom and digital disembodiment by deploying a radical politics of sentimentality that reembodies fashion and labor histories by publicizing the material realities of race, gender, generation, sex, and class that are typically...
Camera Obscura (2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
... when the US and UK versions did well in Australia. Analyzing the US and UK shows, we consider how discourses of nation, class, and empire coalesce in Supernanny to make localization irrelevant for the Australian market and audience. John McConchie and Karen Orr Vered are colleagues...
Camera Obscura (2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... cultural form of the white middle-class nuclear family in a context where norms of heterosexual family and conjugal life are at once firmly entrenched and widely contested. Largely overlooked in film criticism, The Hours is characterized by its baroque and generative temporality and intertextuality...
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
... that the popularity of Mary Hartman reveals viewers' frustrations with television in the 1970s and, furthermore, that the show was uniquely able to integrate a nationwide audience, even as executives envisioned it as a series of discrete markets divided by gender and class. The show, which at times verged...
Camera Obscura (2018) 33 (2 (98)): 69–103.
Published: 01 September 2018
... stereotypes and media. The upheaval of the Banks household, in turn, reflects the chaos anti-suffragists believed would result from upturning social hierarchies based on gender, class, and race. Mary Poppins (Julie Andrews) and Bert (Dick Van Dyke) repeatedly destabilize masculinity and femininity, yet...
Camera Obscura (2019) 34 (3): 1–29.
Published: 01 December 2019
... the institutionalized practice of class and gender equality—and new mainstream discourses began to endorse a universal modernity, disregarding sociopolitical consequences of the market. Zhang Nuanxin (张暖忻, 1941–95) emerged as a pioneer in both the theory and practice of early post-Mao new experimental cinema, but she...
Camera Obscura (2020) 35 (2 (104)): 95–123.
Published: 01 September 2020
... as a revolutionary practice that challenges homophobia and heteronormativity, which sometimes coexist with class inequality and racism. The discussion finally suggests that there is a social critique of civilization behind the escapism and pessimism, as well as utopianism, in queer cinema. © 2020 by Camera Obscura...
Camera Obscura (1989) 7 (2-3 (20-21)): 175–178.
Published: 01 December 1989
... with discourses of gender, class, race and nationhood across the social formation. The concept of “the female spectator” is not limited to psychic and textual analyses. It also informs the questions, assumptions and methodologies of film and television history. My research interests lie...
Camera Obscura (1990) 8 (2 (23)): 42–69.
Published: 01 May 1990
... that preceded cinematic represen- tati~n.~Specifically, I focus on burlesque, a theatrical form that I believe represents a watershed in the modern history of the public presentation of the female body. Burlesque demonstrates the intimate connections among gender, race and class in the construction...
Camera Obscura (1995) 12 (3 (36)): 49–65.
Published: 01 September 1995
... image corresponds with the unspoiled, rustic beauty of the nature scene. The final shot pictures the two women standing side-by-side and smiling into each other’s eyes. View- ers are assured that women can “all just get along.” We can reach across race and class divides to stand smiling...