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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
...Zoë Druick In her digital video work Mass Ornament (2009), the Testament series (2009), and Now He's Out in Public and Everyone Can See (2012), US artist Natalie Bookchin gathers clips from video blogs in which people perform dances and discuss personal and political issues, from sexuality to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2002) 17 (2 (50)): 155–189.
Published: 01 September 2002
... plastic or rubber. The skullcap fits over the top of the character’s head, and in the case of the robber it is used to record sound and image, while Lenny uses the device to watch the recorded material. This sequence-long shot is the first of several Steadicam shots representing SQUID clips...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2005) 20 (3 (60)): 129–157.
Published: 01 December 2005
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1990) 8 (1 (22)): 28–49.
Published: 01 January 1990
... film appreciation. Through writing exercises, classroom discussion and film clips, teachers attempted to instill new habits of film viewing and to teach their students new ways of interpreting what they saw. The Film Education Movement Well before the publication of the Payne Fund Studies...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2002) 17 (2 (50)): 191–217.
Published: 01 September 2002
... direct access with an alternate life world; unlike in television or the cinema, “You’re there, you’re doing it, you’re seeing it, you’re hearing it, you’re feeling it.” While Nero, the film’s protagonist who deals in the illegal clips of other people’s experiences, seems unflinchingly to endorse both...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 186–191.
Published: 01 December 1982
... public address system which seems to blend his voice with the texture of the sound space of the film clips presented at the same time while enforcing an unyielding distance from thc audience. I had wanted to write on what Godard said in Minneapolis only to find in searching my notes and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 127–155.
Published: 01 May 2012
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 172–177.
Published: 01 May 2008
..., 1997), viewing the sequence of career-highlight film clips was “overwhelming.”2 There was no doubting Streep’s range and ability while watching her fear- fully rifling through the Kerr-McGee files inSilkwood (dir. Mike Nich- ols, US, 1983); her bossiness as a mother and the prodigal daughter...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 139–146.
Published: 01 September 2011
... hosts film clips supplemented by textual discussion for use in media studies classes — ­being proposed as an appropriate venue for vidders to make their works available.3 From an academic perspective, this is an elegant solution, but the issues it raises within vidding cul- ture are...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1990) 8 (2 (23)): 90–107.
Published: 01 May 1990
.... 1925; Rochester Times Union 17 Apr. 1925, 22 Apr. 1925, 2 Oct. 1925; Rochester Herald 17 Apr. 1925, 20 Apr. 1925,25 Apr. 1925; Rochester Democrat Chronicle 18 Apr. 1925, unpaginated clippings, Will Hays Papers, Indiana State Library. 17. “The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... presents objects in the mise-en-scène and goes to great lengths to provide them with their own history and emo- tional density. Take Alicia’s hair clip, for example. We never see Ali- cia wear it, but we see it at least three times in the film: first, when Benigno steals it from her room...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 155–168.
Published: 01 May 1988
... but not too simple way, Pee-wee’s PZayhouse is one of the most progressive shows on network television. A stereotypical mailman is usually just that: a man. And to underscore the relation between the mail and the man, one Pee-wee episode features clips from a forties documentary on the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 51–56.
Published: 01 May 1992
... too, with bated breath, a snelled hook number four, and a wet fly. No weights or clips. He’d present the bait naturally, that way it would be carried with the current under the stones to the enemy’s intimate entrenchment. They spooked easily and he stalked them with a delicate belligerence...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 233–237.
Published: 01 December 1982
... Flitterman respectively. 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 227–265.
Published: 01 December 2001
... reinas [Meeting of two queens], Chilean video artist Cecelia Barriga manipulates clips from Queen Christina (dir. Rouben Mamoulian, US, 1933) and The Scarlett Empress (dir. Josef von Sternberg, US, 1934) as well as excerpts from the two stars’ other films...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 131–138.
Published: 01 September 2011
... “whatever” abyss: “Anyone can put video clips to music; what’s so special?”8 134  •  Camera Obscura In the end, vidders received both the accolades and the misunder- standing. Vids have been written about as a cultural phenomenon, and some individual vidders have been recognized by artworld...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
.... Archival document, ca. 1972, WMM Papers. 4. Brochure, 20 November 1972, WMM Papers. 5. Chelsea Picture Station flyer, ca. 1973, WMM Papers. 6. off our backs 3, nos. 10 – 11 (1973), clipping, WMM Papers. 7. “A Winter Night, Chelsea, Manhattan, 1973,” ca. December 1973, WMM Papers...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2002) 17 (1 (49)): 107–147.
Published: 01 May 2002
... with fiction, The Watermelon Woman weaves a visual archive of old photographs, film clips, and newsreels into its drama, simu- lating the look of these genres so well that it is hard to believe that Fae Richards is Dunye’s creation and not an actual historical figure.1 The most accessible part of the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
... program classical Hollywood films, much as gay-oriented reper- tory theaters have, but they have also pioneered and developed a newer form of gay film spectatorship: the clip show. Presented by a film critic or academic, the clip show offers its audience a collec- tion of cinematic moments organized...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 1–35.
Published: 01 December 2006
.... Suffrage Stars  • 7 While it, like most of the other suffrage films, is lost, the archives do provide a glimpse into the production, distribution, and recep- tion of Votes for Women. Newspaper clippings in The Jane Addams Papers, 1860 – 1960, a microfilm collection, sketch out the path of the film...