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collective filmmaking

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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 (2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
...Jinying Li This article examines the Folk Memory Project, a collective documentary initiative in China that organized young filmmakers to return to their home villages to interview elders and unearth silenced memories of the devastating Chinese Great Famine of 1959–61. Focusing on two films...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 165–175.
Published: 01 December 2016
...Liz Clarke; S. Topiary Landberg In this article, the authors argue that the 2013 omnibus film Valencia: The Movie/s (US) presents a unique approach to collective filmmaking in its adaptation of Michelle Tea's queer coming-of-age memoir Valencia (2000). This approach creates a sense of cultural...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... filmmakers from both within and outside Asia is Children of Srikandi (Anak-Anak­ Srikandi, 2012). An Indonesian-­German-­Swiss coproduction directed by the Children of Srikandi Collective and produced by Laura Coppens and Angelika Levi, Children of Srikandi blends documentary, 56...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
... relations between sound and image corresponds with the projection of a collectivity to come. The article argues that the film does not seek to humanize the members of the leper colony but rather to radically rethink the relation between the filmmaker and the subjects of the film. This new relationship...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... was a bridge between that kind of theoretically engaged filmmaking and the global embeddedness and transnational emphasis that characterizes so much of the collection now. That was a pivotal moment. But that was a feature film and we struggled to put it in theaters. It has had an incredible life...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 1–19.
Published: 01 December 2018
... study for considering women’s filmmaking in neoliberal times because of its centrality to the development of feminist film theory at an earlier historical moment in the 1970s. Reframing the history of the West German feminist film movement, the introduction considers the unfolding of new practices...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 147–155.
Published: 01 December 2018
...Sebastian Heiduschke Although women today graduate from Germany’s film schools in numbers nearly equal to those of men, they remain heavily underrepresented in the nation’s film industry. This essay employs statistical evidence to take stock of the situation for women filmmakers and examines three...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 71–97.
Published: 01 December 2003
... in a counterdocumentary practice that they call 74 • Camera Obscura “shared-goal filmmaking” (18). Similar linkages built across the documentary scene have been named “continuity of purpose” and “third voice” in feminist anthropology, “collective ethical accountability” in queer film scholarship, and “radical...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 5–33.
Published: 01 December 2016
... into the site of the social. Mo Simpson, who cofounded Isis Collective, a Vancouver-­based media collective that existed from 1972 to 1974, describes collective filmmaking as a factor in her personal recovery process: “My mother was an alcoholic. Addic- tion is a big theme in my work. Challenge...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 157–175.
Published: 01 May 1979
... than an individual company. We have six films in our collection. We made three of them (Taking Our Bodies Back, Rape Culture and Eugene Debs and the American Mouement). The Barefoot Doctors is the work of another filmmaker. There are two new films which...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 84–87.
Published: 01 December 2021
... describes the establishment of the Barbara Hammer Lesbian Experimental Filmmaking Grant, administered through the New York nonprofit Queer|Art; and Rosemary K. J. Davis commemorates the transfer of the paper archive to the Beinecke collection. Through these efforts, Barbara opened her own process of dying...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
... by the articulation of a collective aesthetics and mimetic politics in its work but also by the institution’s deliberate construction of its output as a carefully curated collection. New Day Films was formed in 1972 — on the cusp of sweep- ing changes in documentary and feminist filmmaking practice...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 151–156.
Published: 01 May 1979
... The author wishes to thank Leslie Clark for her aid in preparing this article and Linda Artel for compiling the Bibliography. 152 her/his work and arranges to pay a royalty on each rental or sale to the filmmaker. A catalog of all the films in the distributor’s collection is published...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
...- laboration became concretized through four major projects taken up by WMM in its first decade of activity: filmmaking instruction, collective production, local and festival exhibition, and network- ing and coalition building. Although organizational priorities have shifted over time, these core...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... their collective refusals of white, patriarchal filmmaking practices and styles.9 Raengo has argued, for example, that LA Rebellion filmmakers experimentation with community- based and collaborative modes of production was specifically in opposi- tion to the dominant American cinematic production practices...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 119–147.
Published: 01 September 2016
... describe their profound grief; and each filmmaker includes herself either in the frame or in the voice-over of the film—sometimes in both. Despite their distinct aesthetic investments, these three films share common thematic preoccupations with gender-based violence and filmically constructed justice...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
.... In this interview, Vohra and the author discuss the filmmaker's discomfort with the historical conventions of social documentary and how she reworks documentary's aesthetic terms through the prisms of the personal. Figure 1. A satirical advertisement from Unlimited Girls (dir. Paromita Vohra, India, 2002...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 135–145.
Published: 01 May 2013
..., for taking a leap of faith with this small collection on which it built its international reputation.  — Bienvenida Matías Notes 1. For details on the association of WMM with an “interstitial production mode,” see Hamid Naficy,An Accented Cinema: Exilic and Diasporic Filmmaking...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
... theorists and historians, as well as women by artists and activists. In this capacity, Camera Obscura early on documented such projects as The Legend of Maya Deren (which sought to collect all writings by pioneer avant-garde filmmaker Deren), published brief reviews of new work by a range of feminist...