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Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 216–218.
Published: 01 May 1979
...Mary Jo Lakeland Copyright © 1979 by Camera Obscura 1979 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...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... the Johns Hopkins University Press. 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...
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 (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 (2018) 33 (3 (99)): 75–101.
Published: 01 December 2018
... of hostility toward people of color. In her memoir, Obama acknowledges that her professors and classmates disapproved of the film because it was not “realistic.” Her critics may have been troubled by her blending of different genres, or by the story’s ambiguous ending, or by the portrayal of German racism...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 1–31.
Published: 01 September 2021
... credibility enabled Reynolds to conceal her intercorporeal and multiracial debts. Finally, the essay argues that the presence of dancers of color in the film, most notably Rita Moreno, haunts the chains of white corporeal debt that bind Reynolds to Haney and Coyne. Copyright © 2021 by Camera Obscura...
FIGURES | View All (5)
Journal Article
Camera Obscura (2022) 37 (2 (110)): 31–57.
Published: 01 September 2022
... study suggest about how the media tends to portray white women and women of color in other social change movements? ab4vs@virginia.edu Copyright © 2022 by Camera Obscura Published by Duke University Press 2022 women and white supremacy media and white supremacy Charlottesville 2017...
FIGURES | View All (5)
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...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 155–183.
Published: 01 May 2015
...–), this article demonstrates how the program's interest in staging the excess of racialized gender is structured through a white racial imaginary, which is contested by cast members in each season's reunion episode. The article ends with a consideration of the way in which queer of color camp affectively...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
..., be attached to skin pigmentation but indicates instead the body's extension beyond itself into the social sphere. With a close analysis of a variety of visual texts, ranging from the shadow of a lynched body in a 1930s NAACP (National Association for the Advancement of Colored People) photograph...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 9–39.
Published: 01 May 2021
... et la glaneuse , France, 2000), exploring Varda's materialist feminism and her use of earthly and tactile materials. The author focuses not only on matter but also on the imagination and the intangible images, colors, and forms that are prominent in her oeuvre, arguing that Yanco served as a muse...
FIGURES | View All (17)
Published: 01 May 2021
Figure 9. Pablo Picasso, Bowl of Fruit, Violin, and Wineglass (1913). Charcoal, black chalk, watercolor, oil paint, coarse black wash, and collage of printed and colored papers on board, 25 11/16 × 19 3/4 in. © 2021 Estate of Pablo Picasso / Artists Rights Society (ARS), New York More
Journal Article
Camera Obscura (1976) 1 (1 (1)): 128–139.
Published: 01 May 1976
... transformations of who our clothes are. Festival showings in Ann Arbor, New York, Toronto, Cannes and Paris. NEAR THE BIG CHAKRA (1971) 17 min. ; color; 16 mm; silent. A film that everywoman must see: 36 labia and vulva: the revelation of the consistent variation ofwomen's sexes.They are presented...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 132–145.
Published: 01 September 1983
... would also like to thank Clara Burckner (Basis Film Verleih) and Erika Gregor (Arsenal) for their help and advice. JUTTA BRUECKNER (See Camera Obscura, no. 6.) 135 FILMS 1981 Laufen Lemen [The FirstSteps), 91 min., 16mm, color (for the ZDF TV• network...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... demographics of the US during the war: “By 1944 there were two and one-­half times more single women than men living in America.”18 Although the film does not address it explicitly, Richard’s color blindness would have rendered him 4 – F, or ineligible for the draft for medical reasons, which explains...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 122–152.
Published: 01 December 1980
.... Ein Tag im Lvben der Rita Rischak [A Fully Demoralized Girl. A Day in the Life of Rita Rischak] 80min., 16mm, b/w and color (commissioned by the ZDF-TV net- work) Distributor: Unidoc The film documents a normal day in the life of hta Rischak, a worlung- class girl...