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creative collaboration

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Journal Article

Slips, Breaks, and Tangles: Creative Collaboration and the Aesthetic Process of Trans-Subjectivity

April Durham
Camera Obscura (2016) 31 (3 (93)): 35–63.
DOI: https://doi.org/10.1215/02705346-3662000
Published: 01 December 2016
...April Durham As a form of creative practice, collaboration holds the promise to extend capacities, challenge hierarchies, and create new forms of community. At best, however, it is a fraught experiment frankly characterized by discord and strife, often reinstating the same power dynamics it seeks...
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Journal Article

Collective Writing Projects Online and the Challenges of the Promise Economy

Hanna Kuusela
Camera Obscura (2016) 31 (3 (93)): 65–97.
DOI: https://doi.org/10.1215/02705346-3662009
Published: 01 December 2016
...Hanna Kuusela This article investigates collaborative and crowdsourced online writing projects and the economies surrounding them. It describes the conjunctures between collective creativity and contemporary economic regimes and introduces the concept of the promise economy. The article discusses...
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Journal Article

A Permeable Practice: Shortbus and the Politics of Cinematic Collaboration

Corinn Columpar
Camera Obscura (2016) 31 (1 (91)): 5–25.
DOI: https://doi.org/10.1215/02705346-3454507
Published: 01 May 2016
...”—their openness to new ideas, new people, and new connections—that makes them sane. This notion provides a way of thinking about the aesthetic and political stakes of a collaborative process of creative production, such as the one employed in the making of Shortbus and made visible in its final form. This essay...
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Journal Article

Beyoncé’s Soft Power: Poetics and Politics of an Afro-Diasporic Aesthetics

Ellen McLarney
Camera Obscura (2019) 34 (2): 1–39.
DOI: https://doi.org/10.1215/02705346-7584892
Published: 01 September 2019
... Beyoncé staged through collaborations with Warsan Shire, a British poet born in Kenya to Somali parents; Awol Erizku, an Ethiopian-born American artist raised in the Bronx; and Daniela Vesco, a Costa Rican photographer. This collective of artists forge a black aesthetics at a heightened level...
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Journal Article

Continuous Weave: Feminist Experimental Filmmaking Genealogies

Sarah Keller
Camera Obscura (2021) 36 (3 (108)): 89–103.
DOI: https://doi.org/10.1215/02705346-9349385
Published: 01 December 2021
... tendencies of feminist experimental art and continues the legacy of all three women's art. Cooperative, collaborative, and productively fragmented, it honors the creative lineage of which it is a part. Copyright © 2021 by Camera Obscura Published by Duke University Press 2021 Barbara Hammer Deborah...
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Journal Article

The Minor Transnationalism of Queer Asian Cinema: Female Authorship and the Short Film Format

Olivia Khoo
Camera Obscura (2014) 29 (1 (85)): 33–57.
DOI: https://doi.org/10.1215/02705346-2408507
Published: 01 May 2014
... women filmmakers in Singapore who employ similar strategies of collaboration in order to develop their creative proj- ects out of a minor cinema include Kaz Cai, one of three female directors from Asia (along with Wang Jing from China and Anocha Suwichakornpong from Thailand) involved...
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Journal Article

Introduction: Future Varda

Rebecca J. DeRoo, Homay King
Camera Obscura (2021) 36 (1 (106)): 1–7.
DOI: https://doi.org/10.1215/02705346-8838505
Published: 01 May 2021
... complex creative work within economic arrangements that she herself innovated, who was consistently feminist in her life and work, moving among aesthetic forms and modalities, incorporating new technologies, and reflecting on the poetics and politics of visual art. Here is an incredible example...
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Journal Article

Valencia: The Movie/s : A New Collectivity

Liz Clarke, S. Topiary Landberg
Camera Obscura (2016) 31 (3 (93)): 165–175.
DOI: https://doi.org/10.1215/02705346-3662075
Published: 01 December 2016
... for the punk-­queer people who are the film’s subject. Valencia: The Movie/s was produced by Tea’s nonprofit liter- Valencia: The Movie/s  • 169 ary organization, Radar Productions, in collaboration with film- maker/coproducer Hilary “Clement” Goldberg...
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Journal Article

Toward a Feminist Fourth Cinema: Waru (2017)

Leah Vonderheide
Camera Obscura (2023) 38 (2 (113)): 63–87.
DOI: https://doi.org/10.1215/02705346-10654899
Published: 01 September 2023
..., plural and provide for the diversity and complexities of Māori women's lived realities.” 54 By choosing to collaborate on an omnibus film, the nine Māori women who wrote and directed Waru were able to depict not one main character through one authorial voice but rather nine different and diverse...
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Journal Article

Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s

Małgorzata Radkiewicz
Camera Obscura (2021) 36 (3 (108)): 61–83.
DOI: https://doi.org/10.1215/02705346-9349357
Published: 01 December 2021
... as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive...
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Journal Article

Maquilapolis : An Interview with Vicky Funari and Sergio de la Torre

Rosa-Linda Fregoso
Camera Obscura (2010) 25 (2 (74)): 173–181.
DOI: https://doi.org/10.1215/02705346-2010-006
Published: 01 September 2010
... Carmen Durán and Lourdes Luján who challenge the power of corporate globalization as they struggle to ameliorate its affects and rebuild their lives and their communities. In this interview, Funari and de la Torre discuss their close collaboration with maquiladora workers/community activists, some...
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Journal Article

Pop, Collaboration, Utopia: Bruce Conner's BREAKAWAY in 1960s Los Angeles

Johanna Gosse
Camera Obscura (2015) 30 (2 (89)): 1–27.
DOI: https://doi.org/10.1215/02705346-3078303
Published: 01 September 2015
... not distinguish between these creative contexts — professional or amateur, collaborative or solo, mass culture or subculture; for Basil, they are continuous and complementary, and they porously inform one another. Basil had her first big break in the early 1960s, when her teacher and mentor...
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Journal Article

Women Working

Chantal Akerman, Christina Creveling
Camera Obscura (1977) 1 (2 (2)): 137–145.
DOI: https://doi.org/10.1215/02705346-1-2_2-137
Published: 01 September 1977
... to examine these differences to the point that we could look closely at the documents of Deren's life and know that we were seeing them from multiple perspectives, sometimes from an individual position, sometimes from that of a collaborator. In this way, we have attempted to be objective...
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Journal Article

Thoughts on Making Films with Barbara Hammer

Lynne Sachs
Camera Obscura (2021) 36 (3 (108)): 129–135.
DOI: https://doi.org/10.1215/02705346-9349441
Published: 01 December 2021
... out of both of these film collaborations. Copyright © 2021 by Camera Obscura Published by Duke University Press 2021 collaboration experimental film Cape Cod artist residency solitude Figure 1. Image from A Month of Single Frames (dir. Lynne Sachs, US, 2019). Courtesy...
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Journal Article

Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival

Rebecca J. DeRoo
Camera Obscura (2021) 36 (1 (106)): 127–153.
DOI: https://doi.org/10.1215/02705346-8838577
Published: 01 May 2021
... often called “artisanal.” Working with a small team of collaborators, modest budgets, and regularly seeking out subsidies and coproductions, Varda maintained great creative control in writing screenplays, directing, and editing films. While the feminist thematics of her films have been interpreted...
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Journal Article

Three by Three: Lisa Cholodenko’s Attachment Trilogy

Lee Wallace
Camera Obscura (2019) 34 (3): 97–125.
DOI: https://doi.org/10.1215/02705346-7772399
Published: 01 December 2019
..., the ambivalence that necessarily attends coupled attachment is only mediated by family, so that what lies ahead is not the garden of marital reenchantment or the sublimations and rewards of creative collaboration, but, at best, the hard graft of conjugal reconciliation and therapy. In 2004, over twenty years...
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Journal Article

Barbara Hammer and Queer|Art: Granting for the Future

Vanessa Haroutunian
Camera Obscura (2021) 36 (3 (108)): 137–139.
DOI: https://doi.org/10.1215/02705346-9349455
Published: 01 December 2021
...-garde art, of queer cinema—just ready to pour out of her. She was passionate and determined, but she was always a true collaborator. She knew what she had to offer and knew that others could complement her knowledge, opinions, and work. She was filled with energy and commitment, even when her health...
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Journal Article

Arnait Video Productions: Inuit Women's Collective Filmmaking, Coalitional Politics, and a Globalized Arctic

Scott MacKenzie, Anna Westerståhl Stenport
Camera Obscura (2016) 31 (3 (93)): 153–163.
DOI: https://doi.org/10.1215/02705346-3662066
Published: 01 December 2016
..., have collaborated on the majority of Arnait’s productions despite initially lacking a shared language. Other filmmakers include Susan Avingaq, Mary Kunuk, and Carol Kunnuk. As of 2016, Arnait has produced over twenty works, includ- ing two fiction features, a documentary feature, two television...
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Journal Article

The Documentaries of Barbara Hammer: Lesbian Creativity, Kinship, and Erotic Pleasure in the Historical Margins

Ronald Gregg
Camera Obscura (2021) 36 (3 (108)): 105–117.
DOI: https://doi.org/10.1215/02705346-9349399
Published: 01 December 2021
... scholarship in the 1980s and 1990s. Her structure and style in these films draw on the tools of both conventional historical documentaries and experimental film. Offering an astonishing range of evidence, Hammer creatively presents queer plenty from the margins of the archive. Through this evidence, Hammer...
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Journal Article

Hammertime!

Jennifer Lange
Camera Obscura (2021) 36 (3 (108)): 123–127.
DOI: https://doi.org/10.1215/02705346-9349427
Published: 01 December 2021
... the exhibition Barbara Hammer: In This Body, 1 June–11 August 2019, at the Wexner Center for the Arts My collaboration with Barbara grew out of her long relationship with the Wexner Center for the Arts and with its Film/Video Studio, a residency program that I oversee and that has supported a number...
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