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Journal Article
Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
...Nick Davis This article yields three new and interlocking readings of Julie Dash's Illusions (US, 1982), a classic of black feminist cinema frequently analyzed from the intersectional standpoint of gendered and racial representation. First, I explore Dash's potent use of close-ups at key points...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 50–66.
Published: 01 September 1977
...Thierry Kuntzel; Bertrand Augst Le Defilement: A View In Close Up Thierry Kuntzel FILM: 'Strip offilm used in a movie camera', 'film projected in a movie theater. '1 It is the relationship between these two films which will be discussed here on the basis of problems raised...
Image
Published: 01 May 2021
Figure 14. A close-up of a mosaic by Jean Varda in Uncle Yanco (US/France, 1967) More
Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
...Seth Watter This article examines the simultaneous gendering and pathologization of screen space in two films directed by Anatole Litvak, The Snake Pit and Sorry, Wrong Number (US, 1948), released within months of each other. It focuses on two formal phenomena: the morbid close-up and the curlicue...
Journal Article
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
...Jenelle Troxell This article examines the origin myth of the feminist film journal Close Up , namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse ( The Joyless Street , 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... a director humiliates her at an audition by demanding the right to inspect her body, she begins disembodied phone sex work. Most critics of the film either emphasize the main character's growth or observe that her interiority remains unavailable to viewers despite the film's extensive use of close-ups...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... and racial identity in the television program 24 . Facial recognition systems (FRSs), in particular, participate in earlier visual discourses of privileged facial imaging such as the close-up and the mug shot, and link them with forms of machine envisioning such as automated rapid facial comparison...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 161–195.
Published: 01 May 2010
... as “facial expression” films, moving images capture close- ups of ordinary events such as a sneeze or a kiss and render them, according to Gunning, objects of “curiosity and amusement”; mov- ing images “became an arena for grotesque grimaces and goo goo eyes, a delightful facial play” and a “parody...
Journal Article
Camera Obscura (2020) 35 (3 (105)): iv–29.
Published: 01 December 2020
... of protesters, conveys the feeling of being in the crowd and witnessing Chadha s struggle through the relative intimacy of the medium close- up. Yet in functioning through the temporal disjunction conveyed by the phrase here/formerly, the image of Chadha caught in mid- shout signals an event that ended soon...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 60–87.
Published: 01 December 2020
... and smiling women, and close- ups of crying babies and endless sinks of dirty dishes and piles of laundry. Yet this trope of repetitive gendered labor is per- haps best exemplified by the seminal cleaning- cooking- fucking- cleaning- cooking- fucking that Jeanne Dielman (Delphine Seyrig) 78 Camera Obscura...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
.... Rakhshan Bani-Etemad, Iran, 1998). A close examination of Islamic, especially Shiʻi, legal theories of the voice is undertaken, in which the female voice is considered part of her ʻawra , or parts of her private body that are deemed shameful and should be veiled or concealed before unrelated men because...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
... but worn method of psychological description through the close-up. . . . There is evidently a style of mise-en-scène appro- priate to the silent film, and another to the talkie.”13 A 1934 com- ment by the director supports these retroactive statements: “The talkie would cause changes in every...
Journal Article
Camera Obscura (1992) 10 (3 (30)): 4–33.
Published: 01 May 1992
...- porary theorists, including gender, racial, and cultural difference, and their effects on the dynamics of spectatorship. While perhaps un- categorizable when they first appeared in the film journal Close Up in the late 1920s, the articles must now be considered a contribution to film theory’s...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 105–139.
Published: 01 September 2004
..., the actress Myrtle, the playwright Sarah (Joan Blondell), or ultimately the actress Gena Rowlands or the writer-director Cassavetes. In turn, the use of close-ups, extreme long shots, and mobile camera shots—often in close proximity within a single sequence—com- plicates efforts to attribute point...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 31–71.
Published: 01 May 2002
... less with their bodies, with large signs and gesticulations, and the realist style was increasingly asso- ciated with a “quiet” body and subtle emotions made legible via 42 • Camera Obscura the close-up.28 But the reliance on pantomime increased in the early days of sound. Highly respected...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 95–105.
Published: 01 September 1988
... a complicity between the medical and the pornographic via photography: both scrutinize and cut up previously unremarked anatomies. Film takes this process one step further with the close-up, which Bonitzer considers to be obscene almost by its very nature, in its process ofmagnifyingotherwise...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 33–57.
Published: 01 May 2005
... at the moment it is made apparent—a textual death no doubt linked to the trauma of the war that historically and ethically heralds the aesthetic split between the subjects of the two books. When Deleuze writes of cinema, “a system which is closed—even one which is very closed up—only apparently...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 57–89.
Published: 01 December 2005
..., becomes an actress; the other, Sugiko, marries a wealthy man, whom she subsequently divorces. The final scenes take place in a hospital where the rich husband is recovering from a car accident. In a scene climaxing with dramatic track-in close-ups that convey the heightened emotions of the family...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 39–41.
Published: 01 May 1976
... • 32 * expressions and soundless xcu m ~ noises. "Raynal has cut this shot from the film. KEY xcu: extreme close-up f: female h: high angle cu: close-up m: male I: lowangle...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 100–110.
Published: 01 September 1980
... be returned to, can we say the same of Potter’s? Does Thriller turn Kristeva on her head? (We do see Laffont held upside down by two men.) Like Kristeva, Potter looks at her mothers close up, sometimes in extreme close-up so that only a seamstress’ hand is visible...