...Kyoung-Lae Kang This essay examines two films, Modern Boy (dir. Ji-woo Jeong, South Korea, 2008) and Private Eye (dir. Dae-min Park, South Korea, 2009), both of which depict Seoul in the 1930s—the period during which Korean colonial modernity was fully shaped—and in so doing draw contemporary...

...Inderpal Grewal; Caren Kaplan Copyright © 1995 by Indiana University Press 1996 Warrior Marks: Global Womanism's Neo-Colonial Discourse in a Multicultural Context Inderpal Grewal and Caren Kaplan Imperialism's image as the establisher...

.... This article examines Park Chan-wook's The Handmaiden ( Ah-ga-ssi , South Korea, 2016), a period film set in 1930s Korea under Japanese rule, in relation to the two nations’ fraught but interconnected colonial and postcolonial histories. By analyzing the film's explicit sexual depiction through discourses...

... or colonial fetish that haunts the making of modern architectural theory and the celebrity of Baker become the site of critical possibility through which we can track the conjoined stories of “modern nudity” (as stylized purity) and “primitive nakedness” (as material embodiment.) Tracking the charged concepts...

..., and the trauma of settler colonialism. Drawing on Eve Tuck's call for desire‐based research, the article asks what is at stake in queer, trans, and decolonial readings of films that are not necessarily identifiable as such at the surface level. Border centers on a love story between two gender‐fluid trolls who...

...Sara Saljoughi This article examines the problem of collectivity in Forugh Farrokhzad's The House Is Black ( Khaneh siah ast , Iran, 1962), an experimental film set in a leper colony in northwestern Iran. Focusing on the film's experiments with form, the article explores how the development of new...

...Ekin Pinar Abstract This article considers how the temporality at work in Chick Strand's film Mosori Monika (US, 1970) breaks with the patriarchal, colonial, and capitalist narratives of genealogy, progress, and production. In Mosori Monika , an experimental ethnographic film that documents...

... of opacity shifts discussions of seeing and knowing toward situatedness, partiality, and the limits of the Western gaze; this section draws on Donna Haraway's interventions into debates about objectivity and Chandra Talpade Mohanty's critique of the colonial gaze in some Western feminist scholarship...

.... Consequently, many aspects of this supposedly new aesthetic resemble cultural appropriation and cannibalization strategies that have been identified with colonial formations. Camera Obscura 2011 Sangita Gopal is an assistant professor of English and film at the University of Oregon. She...

... to stage the satisfactions of marital bliss. Linda's fantasy of domestic modernity pointedly and spectacularly fails to cover over national histories of colonial violence and trauma. Meanwhile, Mei Li's premodern framework of animism enlivens these abject spirits otherwise buried by national and imperial...

... of feminist pedagogy. In response, FemTechNet created an online DOCC (distributed open collaborative course) that modeled the cocreation of knowledge and scholarly dialogues in distributed networks and questioned the hierarchical and colonial impulses of online education. Using the concept of “boundary...

... rhetoric of value, proposing that the “pretty” as a recurrent taste category in film reveals an imbrication of gender, sexuality, and race in the construction of the cinematic image itself. Analysis of the pretty's antecedents in histories of art demonstrates how colonial and patriarchal modes of aesthetic...

... and colonial secrets, locating the racially hybrid genealogies of the classic diva and the universalized subject of psychoanalysis, heretofore presumably white (European). Camera Obscura 2008 Hiram Perez is an assistant professor of English at William Paterson University. His work has appeared...

... Consuming the Other • 49 (West Germany, 1987). In so doing, the film uncovers the extent to which Herzog’s earlier encounter with Africa reveled in neo- colonial fantasies and stylized visions of power. By granting the film’s last words...

... of exercising or lacking agency: Is Baker a race woman or a race traitor? Is she a pioneer of racial equality or a dupe of the racist colonial gaze? Does she deploy resistant feminist camp aesthetics or does she remain complicit as an objectified muse of the mod- ernist male gaze? Is she...

... that they are stunned by the 40  •  Camera Obscura quality and sheer variety of knockoffs. Not only are luxury goods counterfeited but ordinary household items are as well, yielding fake ginseng, phony toilet paper, or bogus soy sauce. Apparently concurring with the Western view of the oriental (ex-)colony...

....’ In the Victorian period the British colonial establishment in the Islamic and Asian worlds used the lan- guage of the early movement for women’s suffrage to criticize the religion and culture (and particularly the religious culture) of non-Eu- ropean men.2 In the Islamic colonies...

... colonial visions, the concept of “people” is still all too often read as implicitly “white,” while all other groups are “natives.” But a new generation of African filmmakers, populated for the first time by a number of women, is working hard to change that image. This article describes...

..., Fleur’s journey situates these feminist concerns across both history and memory, time and space. Indeed, the courtesan’s movement for- ward to encounter her past invokes Hong Kong’s own movement forward towards a (post)colonial 1997 and an encounter with its own past...