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collective aesthetic

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Journal Article
Camera Obscura (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
... to illuminate the economic and political implications of the media collective's recently developed digital platform. It argues that this distribution format extends the logic of the collective, which has informed both New Day's institutional culture and its dominant aesthetics. Drawing on interviews with key...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
...Scott MacKenzie; Anna Westerståhl Stenport Arnait Video Productions is one of the most aesthetically diverse feminist collectives in the world. Founded in 1991 in Igloolik, Nunavut, Canada, by Madeline Piujuq Ivalu and Marie-Hélène Cousineau as the first women's Inuit filmmaking collective, Arnait...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... spaces and aesthetics for producing collective memory that differently configure spectatorial interaction and social intervention. Counterposing the hyperindustrialized military vision of the fictional reality TV show Drones with the social media–styled memory market TruNode, the film’s caricature...
Journal Article
Camera Obscura (2019) 34 (2): 1–39.
Published: 01 September 2019
... Beyoncé staged through collaborations with Warsan Shire, a British poet born in Kenya to Somali parents; Awol Erizku, an Ethiopian-born American artist raised in the Bronx; and Daniela Vesco, a Costa Rican photographer. This collective of artists forge a black aesthetics at a heightened level...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 165–175.
Published: 01 December 2016
..., the development, funding, production, and publicity processes created a unified and growing sense of enthusiasm for the project as a coherent whole. Another notable aspect of this loose form of collectivity was the absence of any aesthetic stipulations for the chapters. Just as all filmmakers...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
...”—their openness to new ideas, new people, and new connections—that makes them sane. This notion provides a way of thinking about the aesthetic and political stakes of a collaborative process of creative production, such as the one employed in the making of Shortbus and made visible in its final form. This essay...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 149–153.
Published: 01 September 2016
...-3592499 © 2016 by Camera Obscura Published by Duke University Press 149 150  •  Camera Obscura as being fundamentally aesthetic. The texts in this “In Practice” collection emerge from the potential that Glissant’s opacity cre- ates for contemporary feminist and queer politics. In contrast...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 141–151.
Published: 01 December 2016
... collaborative art: “the ability of aesthetic experience to transform our perceptions of difference and to open space for forms of knowledge that chal- lenge cognitive, social, or political conventions.”2 Since the demoli- tion of the complex, Okin Collective has expanded their collabora- tive artistic...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 65–97.
Published: 01 December 2016
... by an established publisher.”28 This emphasis on the novelty of collectivity is not entirely surprising. As Scott Rettberg has noted, with electronic literature there is a “danger of placing too high a value on novelty at the expense of other aesthetic and ideological criteria. We see this in new...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
.... . . . This is a cinema of moments. . . . Central to these practices is what I am calling gay cinephilia—the set of gay cultural practices revolving around a collectively shared passion for cinema and its history.”34 Haynes’s Superstar and Bootleg Aesthetics • 75 Karen smears food...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
... relationships and making the world more open and connected, but instead, produce a cacophony of millions of isolated individual voices shouting at and past each other. What I am trying to do through my edit- ing and compilation is reimagine these separate speakers as collectives taking form as a public...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 67–79.
Published: 01 September 1988
... on the other-is the "avant-garde." This collection of essays details, in brilliant relief, the recurring segregation of high art and mass culture, intends to account for the longevityof this schism, and raises questions about the gerrymandering of aesthetic production in a culture deemed postmodern...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... the flow of trans-­subjectivity, a situation that tem- porarily relieves the cabbie and those encountered through the car’s movement from the capture of capitalism. The viewer, the rider, the driver, and the artists collude in the collective invoca- Aesthetic Process...
Journal Article
Camera Obscura (2020) 35 (3 (105)): iv–29.
Published: 01 December 2020
.... It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 11–45.
Published: 01 September 1990
.... This epistemological problem was unthinkable without the corresponding birth of aesthetics as a separate domain within the province of professional philosophy. For speech to maintain its identity, and poetry its place as the highest art (as attested by philosophers from Hegel to Heidegger), meaning...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 148–165.
Published: 01 September 1991
...- apolis: University of Minnesota Press, 1991. In the introduction to her collection of essays on photography, Abigail Solomon-Godeau cites the following incendiary comment by Hilton Kramer as an example of an extreme anti-feminist position in art criticism: “no ideology has proved to be more...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 89–106.
Published: 01 December 1984
..., many of which appeared in Socialisme ou Barbarie, concern decolonialization and the war in Algeria. In the early seventies, Lyotard published the books that were to present his departure from traditional philosophy, moving outside of the accepted boundaries of aesthetics by proposing a theory...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 206–237.
Published: 01 January 1992
... of the Aesthetic Face (New York: Thieme-Stratton, 1984) 64 and 65. On the Cutting Edge: Cosmetic Surgery and the Technological Production of the Gendered Body Anne Balsamo The Biotechnological Reproduction of Gender Among the most intriguing new body...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 66–85.
Published: 01 December 1984
... film to be a kind of writing. From her earliest work - which tries to forge a common ground between film and fiction in what she sees as their shared possi- bilities for a rich aesthetic expressivity - to her most recent ventures into a post-structuralist rethinking of writing as that force...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 157–185.
Published: 01 December 2004
... stylistic connotation, conveying ‘pastness’ by the glossy qualities of the image,” and the tendency toward pastiche—a jumble of histori- cal styles that Jameson identifies as central for the postmodern aesthetic—seem to suggest as much.2 If, however, we were to understand this postmodern historical...