Skip Nav Destination
Close Modal
Search Results for
color
Update search
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
NARROW
Format
Subjects
Journal
Article Type
Date
Availability
1-20 of 458 Search Results for
color
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
Sort by
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 6. “The Color Kit.” From “A Catalogue of Books on Color by Faber Birren” (Westport, CT: Crimson, 1942). Box 1, Faber Birren Papers, Manuscripts and Archives Division, New York Public Library
More
Journal Article
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... by Camera Obscura 2014 Figure 1. Girl 6 (Theresa Randle) as Pam Grier’s Foxy
Brown. Girl 6 (dir. Spike Lee, US, 1996)
The Only Way Out Is In:
Girl 6, Sex Work,
and the Color Line
Anthony Reed
Since the beginnings of cinema, black visuality has marked both
a crisis and a spur...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
... aesthetic a cinematic exploration of écriture féminine . While studying the film's experimental cinematography, its carefully thought-out costume and set design, and its deliberately naive acting style, we find particularly noteworthy the filmmakers' employment of color. Fruit 's chromatic experimentation...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 35–75.
Published: 01 December 2023
...Figure 6. “The Color Kit.” From “A Catalogue of Books on Color by Faber Birren” (Westport, CT: Crimson, 1942). Box 1, Faber Birren Papers, Manuscripts and Archives Division, New York Public Library ...
FIGURES
| View All (13)
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 216–218.
Published: 01 May 1979
...Mary Jo Lakeland The Color of Jeanne Dielman
Mary Jo Lakeland
A careful examination of the use of color in Chantal Akerman’s film,
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, reveals a
rigorously consistent system which, as much as lighting, camera angles,
stationary camera...
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 1. “What's Your Color?,” American Magazine 146, no. 3 (September 1948). Box 7, Folder 1, Faber Birren Papers, Robert B. Haas Family Arts Library, Yale University
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 2. Goethe's color wheel from Zür Farbenlehre (1810)
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 4. Sample Book, Standard Color Card of America, 9th ed.; label: board covers, printed cardboard pages, silk samples; H × W × D (closed): 26.5 × 15.8 × 4.8 cm (10 ⁷⁄₁₆ × 6¼ ×1⅞ in.), H × W × D (open): 26.5 × 51.4 × 3.2 cm (10 ⁷⁄₁₆ × 20¼ ×1¼ in.); gift of the Color Association of the United
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 5. Three-dimensional model of the Munsell Color Tree. Photograph by Hannes Grobe
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 7. “The Gloray Prism.” From “A Catalogue of Books on Color by Faber Birren” (Westport, CT: Crimson, 1942). Box 1, Faber Birren Papers, Manuscripts and Archives Division, New York Public Library
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 8. “Character Analysis through Color,” Paint Merchandising Council, 1956. Box 7, Folder 1, Faber Birren Papers, Robert B. Haas Family Arts Library, Yale University
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 9. “Meet Your Color Mate,” Woman 47, no. 1219 (October 15, 1960). Box 7, Folder 1. Faber Birren Papers, Robert B. Haas Family Arts Library, Yale University
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 10. “Meet Your Color Mate,” Woman 47, no. 1219 (October 15, 1960). Box 7, Folder 1. Faber Birren Papers, Robert B. Haas Family Arts Library, Yale University
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 13. “What's Your Color?” American Magazine 146, no. 3 (September 1948). Box 7, Folder 1. Faber Birren Papers, Robert B. Haas Family Arts Library, Yale University
More
Journal Article
Camera Obscura (2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
... of race and sexuality, as well as of formulating “queer of color” as a kind of critical modality. Much like Harriet Beecher Stowe's Uncle Tom's Cabin functions, according to Sigmund Freud, as a cultural artifact prized in the form of an idealized beating fantasy by the Victorian (white) child, Imitation...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
...Rosalind Galt This article contends that film studies has consistently denigrated “pretty” images: those that emphasize detailed composition, excess color, or decorative style. While the term deliberately invokes the triviality of “pretty pictures,” the article questions this taken-for-granted...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
... with Romanticism, transforming her into a commodity to be marketed to a modern mass theatrical audience. At the same time, this essay argues that the film questions its own use of spectacle, in particular CinemaScope and Eastman Color, to present its notorious heroine as an object of spectacle for contemporary...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 133–139.
Published: 01 December 2016
... objects,” students participating in FemTechNet have engaged in shared learning projects like “wikistorming,” in which students edit Wikipedia to improve the representation of women and people of color on the site, and digital-mapping initiatives, in which student experience is recognized as a site...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... the assumed heteronormativity of the characters in the script as well as by not limiting who can be cast as each character: a straight white man, for instance, can find himself playing a queer woman of color. Coffee troubles the idea of the gaze in the sense of being a transparent production wherein...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... produced by performances across the color line, I argue that Horne's withholding exploited the conventions of the cabaret to resist the circumscribed roles available to black women performers on the Jim Crow stage. In autobiographical accounts of her early nightclub performances, she embraces what I term...
1