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Journal Article
“These Spectacles Are Never Forgotten”: Memory and Reception in Colette's Film Criticism
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Camera Obscura (2005) 20 (2 (59)): 119–163.
Published: 01 September 2005
... of a cyclamen before blooming, taken from a Jean
Comandon fl ower study film made at the biological
laboratory on Albert Kahn’s property. The film, titled
Le Mouvement des végétaux (dir. Jean Comandon and
Pierre de Fonbrune, 1926–29), is similar to the type
of fi lm Colette viewed at the Musée...
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Journal Article
Screening Musidora: Inscribing Indeterminacy in Film History
Available to Purchase
Camera Obscura (2001) 16 (3 (48)): 59–81.
Published: 01 December 2001
...) in the
Théophile Gautier novel Fortunio. She begins to use this name
during her stage career, which starts in Paris around 1910. Her
work in the theater and music hall also brings her in contact with
the writer Colette and initiates a lifelong personal, professional,
and rumored romantic relationship...
Journal Article
The Gold Diggers: A Preview
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Camera Obscura (1984) 4 (3 (12)): 126–129.
Published: 01 December 1984
... bateau and Born in
Flames, one can see the laughter of Medusa shattering form and decorum
alike.
Shot by Babette Mangolte in black and white and co-starring Julie
Christie and Colette Laffont, the film is well synopsized by Potter herself
“In The Gold Dzggers two women are searching...
Journal Article
Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)
Available to Purchase
Camera Obscura (2022) 37 (2 (110)): 1–29.
Published: 01 September 2022
... especially appealed to European intellectuals at the time. The French poet, novelist, and essayist Colette, for instance, exalted Hayakawa's “powerful immobility,” which she lauded as a mode of gestural acting that “is eloquence itself”: Let our aspiring ciné-actors go to see how, when his [Hayakawa's...
FIGURES
Journal Article
Interview with Sally Potter
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Camera Obscura (1995) 12 (2 (35)): 186–221.
Published: 01 May 1995
...-scene
(the film takes place entirely within a bare attic space), its anti-illusion-
ist tactics (there is no conventional narrative development at all: action
occurs in narration, in photographs, in tableaux), and its choice of a
Black woman (Colette Lafont) as protagonist...
Journal Article
She Who Laughs First Laughs Last
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Camera Obscura (1980) 2 (2 (5)): 100–110.
Published: 01 September 1980
... last, does she laugh
best?
Colette Laffont, literally the only person in Thriller to laugh, laughs
twice. In the first moving image of the film, one of the few sync sound
moments, Laffont seems to be laughing in response to the previous shot.
But this shot, the first shot of the film...
Journal Article
“So We Will Go Bad”: Cheekiness, Laughter, Film
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Camera Obscura (2006) 21 (2 (62)): 144–167.
Published: 01 September 2006
....
Thriller begins with laughter. We see a black woman
(Colette Laffont) sitting on a chair in an empty room, a book
on her lap. She closes the book, lifts her head, and starts laugh-
ing. One peal of laughter, then another, then another. She can-
not stop. Why is she laughing? The film has just started...
Journal Article
Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines
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Camera Obscura (2023) 38 (2 (113)): 1–29.
Published: 01 September 2023
..., the overall aim of Actualités féminines was both educational and commercial, as the newsreel magazine was directed at figuring modern Frenchwomen's experience. Actualités féminines highlighted prominent women in French society such as Josephine Baker and Colette. This made Weiss, a celebrated...
FIGURES
Journal Article
Deriding the Voice of Jeanette MacDonald: Notes on Psychoanalysis and The American Film Musical
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Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
... by
conjugality than her husband’s; yet the movie ends with Colette Bertier
unwittingly fostering viewer tolerance of AndrC Bertier’s greater ex-
tramarital freedom. And in Love Me Tonight (1932),Princess Jeanette’s
erotic deprivation works to the political as well as the libidinal ad...
Journal Article
Symmetry, Violence, and The Handmaiden 's Queer Colonial Intimacies
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Camera Obscura (2021) 36 (2 (107)): 33–63.
Published: 01 September 2021
...): 159–87. 66. A rare exception is Earl Jackson Jr.’s “Borrowing Trouble: Oldboy as Adaptation and Intervention,” Transnational Cinemas 3, no. 1 (2012): 54. 67. Colette Balmain, Introduction to Japanese Horror Film (Edinburgh: Edinburgh University Press, 2008), 70–90. 68. Kim...
FIGURES
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Journal Article
Let Them Wear Manolos: Fashion, Walter Benjamin, and Sofia Coppola's Marie Antoinette
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Camera Obscura (2011) 26 (3 (78)): 1–33.
Published: 01 December 2011
... — and therefore
scandalous — attire and behavior. Such women included the
writers George Sand, Rachilde, and Colette; the actress Sarah
Bernhardt; and the couturiere Coco Chanel. (Although Coppola
is not technically of Gallic parentage, she has married a French
rock musician...
Journal Article
A Strange Child of Paradise: The Artistry of Arletty's “Self” in Les enfants du paradis
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Camera Obscura (2017) 32 (1 (94)): 93–127.
Published: 01 May 2017
... – 66; Sidonie-Gabrielle Colette, La
jumelle noire: Critique dramatique [The dark binoculars: Theatrical
reviews], vol. 10 of Oeuvres completes [Complete works] (Paris: Le
Fleuron, 1949), 279; Christian Gilles, Arletty, ou, La liberté d’être:
Avec un portrait-entretien...
