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Journal Article
Camera Obscura (2015) 30 (3 (90)): 161–187.
Published: 01 December 2015
...Mauro Resmini This article examines a recent tendency in contemporary art cinema—the New French Extremity (NFE)—and focuses specifically on a critique of the scholarly discourse that has flourished around it in recent years. The fundamental argument of this discourse can be summarized as follows...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... in the contemporary global terrain of film festivals and criticism. Bier's recent work demonstrates properties of both art cinema and popular European genre cinema; as a result, estimations of her films' critical and cultural worth have frequently been divergent and arguably gendered. The discussion focuses on three...
View articletitled, The Male Sojourner, the Female Director, and Popular European <span class="search-highlight">Cinema</span>: The Worlds of Susanne Bier
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for article titled, The Male Sojourner, the Female Director, and Popular European <span class="search-highlight">Cinema</span>: The Worlds of Susanne Bier
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
...Katherine Fusco Using recent work from philosophy, film studies, and economics, this article analyzes two instances of star discourse — Darren Aronofsky's Black Swan and Steven Soderbergh's The Girlfriend Experience — to identify an emerging trend in contemporary cinema. I argue...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
..., this article considers what digital cinema's capacity to create “original” performances means for questions regarding the real, the authentic, and the performer's aura. Virtual performers bring contemporary culture to a new extreme of celebrity commodification. With performances separated from the biographical...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 69–85.
Published: 01 December 2022
... singularity in the landscape of postwar French film writing. Opening out from this historical context, it closes by gesturing toward the modernity of Vedrès's essay in terms of more contemporary archival filmmaking, as well as thinking on the relationship between cinema and history. 27. Vedrès, “Le cinéma...
FIGURES
Journal Article
Camera Obscura (2021) 36 (1 (106)): 187–213.
Published: 01 May 2021
... of expanded cinema from the 1960s to today, from Peter Kubelka or Paul Sharits to Jennifer West, who work with filmstrips as material objects and not as a to-be-ignored medium for the projection of images on a screen. 29 On the other hand, Varda's shacks call to mind contemporary visual artists like...
FIGURES
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Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... that impact. Histories of cinema generally fall within several dominant paradigms: world cinema; Hollywood or industrial cinema; and cinemas in contradistinction to the Hollywood industrial model—national art-film movements and avant-gardes resistant to the industrial paradigm and its influence. Though...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 159–169.
Published: 01 September 2020
..., a program of WIFF shorts, contemporary photograms, and digital shorts. Art & Life consisted of thirteen short and experimental films curated to highlight similarities and differences in women s filmmaking cultures in Australia. Five of these were 16mm prints from the 1970s screened at WIFF including Daddy...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
...
aesthetics of both popular and art cinema, not to mention indus-
trial design, art, tourism, and so on. As Ngai goes on to make clear,
it is not enough to simply condemn these categories as co-opted or
secondary. By mapping the rhetorical opposition of the sharp and
pointy avant-garde to the soft...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 27–31.
Published: 01 May 2006
... for these engagements. Because it is
a popular art, the cinema was seen as one of the most democratic
of cultural forms; because it is a contemporary art form — the
youngest in the history of representations — it was seen as the
ideal place for critical innovation. Camera Obscura’s commitment
to theory...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 1–3.
Published: 01 May 2014
... of
excitement about Patricia White’s work on emerging industrial
and textual crossovers between women’s cinema and world cin-
ema, so we were delighted when she accepted our invitation to
give a public lecture in Melbourne on this topic and to lead the
workshop in her role as Faculty of Arts...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 77–97.
Published: 01 May 2001
... are the best known); and
graphics (tagging and graffiti art). These street arts were devel-
oped in the suburbs of Paris and other large French cities as part
of a contemporary urban culture defined by lifestyle, slang, and
fashion. While hip-hop...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 125–157.
Published: 01 December 2013
... and theoretical interventions posed by, especially, Guy Hocquenghem. Viewed through the lens of the complex relationship between French universalism and contemporary French queer culture, Johan is all the more radical and unique for its very direct gay stance. David A. Gerstner is professor of cinema...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... is assistant professor of art history and film studies at the University of Wisconsin – Milwaukee. Her writing has appeared in Framework: The Journal of Cinema and Media, Cineaste, World Picture , and in a number of edited collections. She is editor, with John David Rhodes, of Taking Place: Location...
View articletitled, “Dated Sexuality”: Anna Biller's Viva and the Retrospective Life of Sexploitation <span class="search-highlight">Cinema</span>
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for article titled, “Dated Sexuality”: Anna Biller's Viva and the Retrospective Life of Sexploitation <span class="search-highlight">Cinema</span>
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 223–233.
Published: 01 December 1982
... Independent Cinema,
Jonathan Curling introduced the concept of the national (a question
which no one took up again). Maureen Turim stimulated a long dis-
cussion with her paper on the current cuts in government support of
the arts and independent ’film and video. Everyone...
View articletitled, <span class="search-highlight">Cinema</span> Histories, <span class="search-highlight">Cinema</span> Practices Asilomar Conference
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for article titled, <span class="search-highlight">Cinema</span> Histories, <span class="search-highlight">Cinema</span> Practices Asilomar Conference
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
... of course in Anglo-American film
studies, such approaches remain rare in the historiography of
European art cinema.
Despite, then, the fact that contemporary cooperative
strategies taken by national cinema industries in the European...
View articletitled, The Name above the (Sub)Title: Internationalism, Coproduction, and Polyglot European <span class="search-highlight">Art</span> <span class="search-highlight">Cinema</span>
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for article titled, The Name above the (Sub)Title: Internationalism, Coproduction, and Polyglot European <span class="search-highlight">Art</span> <span class="search-highlight">Cinema</span>
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 277–278.
Published: 01 May 1997
... and Their American
Remakes by Carolyn A. Durham. Dartmouth UP, 1999.
Celebrating 1895: The Centenary of Cinema by John Fullerton. John Libbey,
1998.
Art in Motion: Animation Aesthetics by Maureen Furniss. John Libbey, 1998.
The Art of Taking a Walk: Flanerie, Literature, and Film in Weirnar Culture...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
... herself as a benshi. Unlike other traditional performing arts, creating one's original style based on one's interpretation of the film has always been more valued than copying the predecessors' styles. Sawato also discusses the complex ways in which she, a contemporary woman with a clear feminist agenda...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 1–23.
Published: 01 December 2007
... life from the beginning again. The cinema, I thought,
was the one art which was fresh and new, with enormous creative
potentialities and possibilities. . . . [Alexander Dovzhenko]
The innovation of easel painting made great works of art possible, but
it has now lost its power. The cinema...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 1–33.
Published: 01 September 2005
...:
(Cross-)Cultural Projection,
Spectatorship, and Iranian Cinema
Lindsey Moore
This article addresses the entwined issues of gendered and cul-
tural representation in contemporary Iranian cinema. One of the
remarkable features of recent Iranian film is its allegorical use of
gendered...
View articletitled, Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and Iranian <span class="search-highlight">Cinema</span>
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for article titled, Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and Iranian <span class="search-highlight">Cinema</span>
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