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colonial memory

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
....” © 2015 by Camera Obscura 2015 Korean modernity colonial memory urban memory noir space forgotten future Figure 1. CGI reconstruction of Kyung-­Sung in the 1930s in Modern Boy (dir. Ji-­woo Jeong, South Korea, 2008) Kyung-Sung:­ Cinematic Memories of the Colonial Past in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2005) 20 (1 (58)): 107–147.
Published: 01 May 2005
...Jeanette Herman Camera Obscura 2005 Jeanette Herman received her PhD in English from the University of Texas at Austin. Her dissertation is a comparative analysis of how images of suffering bodies have been used to articulate structures of domination in colonial India and Ireland...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 195–225.
Published: 01 December 2001
... article in Discourse on the film Suture and its treatment of race. 06-Burns.sh 194-225=32pg 4/18/01 4:03 PM Page 194 06-Burns.sh 194-225=32pg 4/18/01 4:03 PM Page 195 Erasure: Alienation, Paranoia, and the Loss of Memory in The X-Files...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... and nonsight in the context of war in Southeast Asia, illuminating the contradictions of representing Cambodian history and “seeing,” or apprehending, trauma and memory through cinema. I trace the connected, if not commensurate, powers that seek to make sense of their senselessness, their blindness...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
...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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... expressed in both the film's narrative and in its cinematic apparatus. The Mizrahi woman's unceasing daily encounters with class and gender oppression, which she comes to internalize, constitute an ongoing trauma. The chronic nature of this trauma does not allow her to turn it into post-traumatic memory...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
.... 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 is the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
... 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
... 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 188–190.
Published: 01 December 2015
... Continuity, Reality Celebrity, and the Female Grotesque. No. 88: pp. 11 – 39 Lynne Joyrich, Misha Kavka, and Brenda R. Weber Project Reality TV: Preshow Special. No. 88: pp. 1 – 9 Kyoung-Lae Kang Kyung-Sung: Cinematic Memories of the Colonial Past in Contemporary Korea. No. 90: pp. 27...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 108–132.
Published: 01 September 1991
... of other planets. After a bloody mutiny by a Nexus 6 combat team in an off-world colony, Replicants were declared illegal on earth- under penalty of death. Special police-squads -Blade Run- ner units-had orders to shoot, upon detection, any trespassing Re- plicant...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2003) 18 (2 (53)): 1–25.
Published: 01 September 2003
... identity. But most basically, through the use of its sparse two-part structure—its juxtaposition of images of France with images of Egypt—the film engages questions of cultural contact and colonial memory through predominately visual terms. By highlighting discrepancies between a contained, modeled...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1993) 11 (2 (32)): 75–101.
Published: 01 September 1993
... with the past, 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2007) 22 (2 (65)): 73–101.
Published: 01 September 2007
... icon of motherhood. Born Freda McDonald, Baker fled poverty and traumatic memories of the violent 1917 East St. Louis race riots by seeking work in the theater. At times considered “too skinny and too dark” for chorus lines, she left St. Louis to work as a dresser touring on the Theater...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 88–107.
Published: 01 September 1991
... “replicants” to be exported to “Off-World” colonies. Two men sit in a room, separated by a machine that appears to be a medical device. One of the men asks the other man to respond to a series of questions. At this early juncture in the film, the first time we see the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 27–31.
Published: 01 May 2006
... Camera Obscura: Feminism, Culture, and Media Studies Sandy Flitterman-Lewis As I prepare my two courses this semester — one on melodrama, the other on history/memory and social conscience in the cin- ema — it occurs to me that while they are being taught simulta- neously, these...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 155–157.
Published: 01 September 1995
... Hopkins University Press, 1996. Cinematernity: Film, Motherhood, Genre by Lucy Fischer. Princeton Univer- 157 sity Press, 1996. $14.95. The Domain-Matrix: Performing Lesbian at the End of Print Culture by Sue-Ellen Case. Indiana University Press, 1997. $1 7.95. Tangled Memories by Marita...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2003) 18 (1 (52)): 129–155.
Published: 01 May 2003
... The Quick and the Dead • 131 World’s Fair, and the fantastic dream voyage Mother Dao, made from documentary Dutch colonial archival footage of the country now known as Indonesia, actually transform the genre of found footage film and achieve cinema’s truly surrealist potential. The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 37–61.
Published: 01 December 2006
... concurring with the Western view of the oriental (ex-)colony, Tsui in Knock Off portrays a Hong Kong overwhelmed by all kinds of counterfeits and dominated by gluttonous people craving quick bucks and power. The knockoff production mode could easily apply to Hong Kong filmmaking as well. It is no...