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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1990) 8 (2 (23)): 132–147.
Published: 01 May 1990
...John Fiske Copyright © 1990 by The Johns Hopkins University Press 1990 Popular Narrative and Commercial Television John Fiske Let me begin with five instances within my recent, somewhat channel- happy television viewing: 1. On America’s Most Wanted a crime is reconstructed...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
... roots to a collection of British programs offering advice to parents in the late 1990s and early 2000s, as well as to the longer-standing British tradition of public service broadcasting that sought to “better its audience,” we argue that the program departs from that legacy in its commercialization...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 67–107.
Published: 01 May 2009
... directly inspired by that article, Osucha links the doctrine's fundamental concern with privacy-as-property to new understandings of subjectivity, commodification, and the image produced at the nexus of an emergent commercial mass media and technological and social transformations of photography in the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
... ultimately collude to portray Africa as universally chaotic and Africans as universally oppressed. The filmmakers' good intentions notwithstanding, these two commercially successful films fall short and affirm Cameron's conclusion that Britain and the United States are not ready for a new cinematic Africa...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 75–117.
Published: 01 September 2010
...Laura Horak The commercial success of Elinor Glyn's 1927 film It has obscured the fact that, throughout her career until this point, Glyn had promoted a significantly different sexual ideology. In a remarkable array of novels, plays, lectures, interviews, editorials, and advice manuals, Glyn had...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
.... This article focuses on one of the most commercially successful Hollywood films of 1946, John M. Stahl's Leave Her to Heaven, arguing that the film's spectacular Technicolor landscapes function as a melodramatic device for mediating ambivalence about the social role of women at that time. In this film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 33–65.
Published: 01 December 2013
... spectatorial strategies emphasized the wide applicability of film content to personal, commercial, and educational ventures, in contrast to censorious impulses in Ohio especially during the Production Code era. John G. Nichols is an associate professor of English and director of film studies at...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 33–61.
Published: 01 May 2017
... consumers and to frame the HIV epidemic as an issue to be addressed largely through rational individual choice and integration into commercial markets. The behavior change it promotes and represents relies on securing female reproductive heterosexuality and the family. The melodramatic mode has proven vital...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 111–135.
Published: 01 May 2014
...Jodi Brooks The Kids Are All Right (US, 2010) is Lisa Cholodenko's most commercial film to date and has been the most divisive in its reception. Pitched as a film of and for the times, the film has been celebrated for its portrayal of a lesbian family unit and taken to task for its homonormativity...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 165–173.
Published: 01 May 2016
...Donna Kornhaber This article positions the work of the feminist animation studio Lift Animation as a corrective to the industrialized processes and gendered hierarchies of traditional commercial animation studios. It examines Lift's unique place in the world of contemporary animation as a studio...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 203–225.
Published: 01 January 1988
... presence of commercials, program promos, press kits, and miscellaneous trailers. Nina Leibman The UCLA Film and Television Archive 1438 Melnitz Hall 405 Hilgard Avenue Los Angeles, CA 90024 (213) 206-8013 The UCLA Film and Television...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 212–241.
Published: 01 May 1994
... fails to consider how corporate goals and commercial imperatives govern all aspects of the cable enterprise. This essay investigates the case of Lifetime Television, a cable network said to serve a broad range of women’s interests by offering “alternative” fare for female viewers, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1990) 8 (2 (23)): 4–7.
Published: 01 May 1990
... to patriarchy, all the while writing themselves into the scene of cultural production. John Fiske’s ‘‘Popular Narrative and Commercial Television” con- siders the more general logic of popular culture and how that logic is played out on our television screens. Taking call-in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 132–145.
Published: 01 May 1994
... of television by re- peated viewings.’ Even for the television networks, the idea behind reruns is to capture new viewers or to expose compulsive ones to new commercials. Although television has often been discussed in terms of intertextuality, this has been done mainly in terms of the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
... they appeared on the commercial market. Since leaving One Pass last year, Almy has been teaching video production and working on her own projects both at UCLA and at West Coast University. During the past year, she has received numerous grants and work opportunities, including an American Film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 78–116.
Published: 01 January 1988
... Francisco of so long ago, I remember Mama." Katrin Hansen's memories of her Norwegian immigrant working-class family had powerful appeal for viewers in the early years of commercial network broadcasting. Mama established itself as one of CBS's most popu• lar programs during its first season on the air...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 244–245.
Published: 01 May 1979
... show an image of women which is quite different from the one found in most narrative, commercial films until now, and we try to encourage spectators to see this. We also do our best to support independent and experimental films which have a very limited public in France for...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 262–263.
Published: 01 May 1994
... of the Poky of Commercial Broadcasting in the US.,forthcoming, University of Chicago Press. Sasha Torres is the Richard and Edna Salomon Assistant Professor at Brown University, where she teaches television, film, and cultural theory in the De- partment of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1983) 4 (2 (11)): 86–100.
Published: 01 September 1983
... next two sequences following the commercial break will attempt to work out this tension. The first image that appears on the screen after the commercials is almost unreadable. The voice-over narration certifies that we are seeing a vagina during sexual arousal and orgasm...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... is marked by an in-­betweenness that in many cases renders her invisible. She is caught between national cinema formations and the institutional flows of world cinema (the desire to attract a local audience while also aspiring to the film festival circuit) and between commercial and...