Search Results for colonial memory

... 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...

... 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, and predetermined audiovisual field...

...-temporal and colonial relationships to gender, despite overlooking the historical and cultural complexities of the original images. For Iranian diasporic viewers such as myself, circulation of these images highlights a loss of memory in respect to our cultural history of gender and sexuality. This loss...

... At the heart of this censorship was not unilateral anti-Japanese hostility but anxiety over the familiarity and attractiveness of Japanese culture, rooted in difficult memories of the colonial era and the painful indeterminacy of Korean identity. The sixties’ debates over “Japanese color” that An traces offer...

... nationalist celebrations of independence tinged with lament for the violence of partition, this voice-over offers an act of memory that forgets more than it remembers, one that obscures in the process of revealing. By focusing on British culpability and narrating the end of the colonial occupation...

..., the Berlin setting of the series, as a historically fraught context that likewise raises questions about intentionality and the role of Germany's past and present. 28. Frantz Fanon, “Algeria Unveiled,” in A Dying Colonialism , trans. Haakon Chevalier (New York: Grove, 1965), 37–38; Gayatri Chakravorty...

...) by Maha Haj (Palestine, 2020), the lockdown stimulated a collision between the past and the present with ongoing, and at times increased, restrictions on movement and memory work in the West Bank. In each piece, the unhomely is presented uniquely, but the subject matter — memory, the occupation...

.... 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...

..., 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...

... 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 disjunctions...

... of the Anthropocene. In the process, what is erased is also the memory of other stories that could have been told, stories that emerge out of a history of violence against Black being—what Hortense Spillers calls “high crimes against the flesh ”—and that demand a temporality and a point of view that the cinema...

... on Mars and, as we learn from the “objective” commentary (punctuated by the sound of machine-gun fire), the administrator of Mars Federal Colony, Milos Cohaagen (Ronny COX has had to suppress the attendant “violence”-albeit with a “minimal use of force.” The restoration...

... 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 Owners...

... dynamic.”61 The stumbling block in feminist costume drama’s theoretical project is its representation of the imperial legacy. While Potter herself claims that colonialism is the subtext of Orlando,62 the film shares “in a generalizable neocolo- nial tendency of other arthouse (not to mention Hollywood...

... 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...

... 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...

... 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...

... in relation to Vietnam as a historical event by assuming connections between discourses of history and memory, national and personal identity. In particular, the episodes "Independence Day" and "Rewind" provide the opportunity to read relations between family melodrama and history and between racial...

... 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...

...-transphobias”), in Sombras coloniales y globalización en el Perú de hoy ( Colonial Shadows and Globalization in Peru Today ), ed. Gonzalo Portocarrero (Lima: Red para el Desarrollo de las Ciencias Sociales, 2013), 227–37. 29. Ella Shohat, Taboo Memories, Diasporic Voices (Durham, NC: Duke University...