creative concept opposing sound and image

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Journal Article

NOW , Chantal Akerman’s Last Work

Babette Mangolte

Camera Obscura (2019) 34 (1 (100)): 67–73.

DOI: https://doi.org/10.1215/02705346-7264094

Published: 01 May 2019

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Journal Article

Voices from Beyond the Grave: Virtual Tupac's Live Performance at Coachella

Katherine Fusco

Camera Obscura (2015) 30 (2 (89)): 29–53.

DOI: https://doi.org/10.1215/02705346-3078314

Published: 01 September 2015

... and archive, and death and the image. This essay traces the ghostliness of entertainers speaking from beyond the grave and the new interpretive problems that come to the fore when the performance is “live” but the performer isn't. Bringing together star discourse, media ontology, and sound studies...

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Journal Article

Desire in Art and Politics: The Theories of Jean-François Lyotard

Maureen Turim

Camera Obscura (1984) 4 (3 (12)): 89–106.

DOI: https://doi.org/10.1215/02705346-4-3_12-89

Published: 01 December 1984

... are not structurally opposed, separate systems; they are rather modes within both language and image. The image tends to be more conducive to figural play, while writing tends to fm discursive meanings, but Lyotard avoids the type of structuralist opposition that lines up binarisms ruled...

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Journal Article

“Desire Shifts the Differance”: Figural Poetics and Figural Politics in the Film Theory of Marie-Claire Ropars

Dana Polan

Camera Obscura (1984) 4 (3 (12)): 66–85.

DOI: https://doi.org/10.1215/02705346-4-3_12-66

Published: 01 December 1984

... in film - not just the film as writing, but the effects that the physical appearance of lettering have when they enter the analogical world of the film image. Words on a screen can create a voice that opposes the image or enters into a dispersive montage with it; this montage can...

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Journal Article

The Film Stilled

Raymond Bellow

Camera Obscura (1990) 8 (3 (24)): 98–124.

DOI: https://doi.org/10.1215/02705346-8-3_24-98

Published: 01 September 1990

... of the negative and the specter of photography. One finds oneself faced with two opposing conceptions of time and of memory: on one hand, Freud and everything linked to him; on the other hand, Bergson revisited. If I had to give a film-image of this disparity, I would gladly...

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Journal Article

Introduction to “Metaphor/Metonymy, or the Imaginary Referent”

Constance Penley

Camera Obscura (1981) 3 (1 (7)): 6–29.

DOI: https://doi.org/10.1215/02705346-3-1_7-6

Published: 01 May 1981

.... “These are only ideal types but they can help to situate textual occurrences” (p. 227). 1. Referential comparability + discursive contiguity (metaphor presented syntagmatically): two filmic elements-two images, two motifs of the same image, two entire sequences, or an image and a sound...

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Journal Article

Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability

Rebecca A. Sheehan

Camera Obscura (2023) 38 (2 (113)): 31–61.

DOI: https://doi.org/10.1215/02705346-10654885

Published: 01 September 2023

... space, a different cinematic atmosphere, through opposing terms that together glance rather than strike is evident in the relationship between sound and image and the seen and unseen in Double Tide (dir. Sharon Lockhart, US/Austria, 2009) ( fig. 6 ). Double Tide 's camera frames a New England coastal...

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Journal Article

Reading the Figural

D.N. Rodowick

Camera Obscura (1990) 8 (3 (24)): 11–45.

DOI: https://doi.org/10.1215/02705346-8-3_24-11

Published: 01 September 1990

..., one of the last great Modern thinkers, insisted that the relation between the signifier (sound-image) and the signified (concept) was arbitrary. Signification, the affirmation of meaning, occurs because words are divided from the things that they nonetheless name and 29 master...

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Journal Article

Art on Film at Finch College: Reproductive Labor in the Enrichment Economy

Tim Ridlen

Camera Obscura (2023) 38 (1 (112)): 81–101.

DOI: https://doi.org/10.1215/02705346-10278600

Published: 01 May 2023

..., regardless of whether or not they operated within the discursive mode of documentary film or made specific onto-epistemological claims for cinema. Underground film and moving image art utilized the social, intellectual, and affective labor of creative practice as much as they attacked the commodity status...

FIGURES

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Journal Article

The Face Is a Politics: A Close-Up View of Julie Dash's Illusions

Nick Davis

Camera Obscura (2014) 29 (2 (86)): 149–183.

DOI: https://doi.org/10.1215/02705346-2704661

Published: 01 September 2014

... will of Mignon’s, and hopefully not forever. Qualitative Leaps Race, gender, and status are unsettled concepts in any image of Mignon, who is neither black nor white, neither elite nor fully sub- servient, and neither masculine nor strictly feminine. Dash and Lonette McKee evoke these tensions...

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Journal Article

A Problem of Fit : Athina Rachel Tsangari and Greek “Weird Wave” Cinema

Eleni Palis

Camera Obscura (2022) 37 (2 (110)): 59–89.

DOI: https://doi.org/10.1215/02705346-9787014

Published: 01 September 2022

... her later, supposedly Weird Wave films. The conceptual capaciousness of the term fit , as both a film title and a concept, refracts across Tsangari's films and career at large. This article exploits wordplay around fit as a technical standard of sound and image cohesion (how image and sound fit...

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Journal Article

Gift or Weapon? Reproductive Decision, the Phenomenology of Pregnancy, and Alien Language in Denis Villeneuve's Arrival

Naomi Morgenstern

Camera Obscura (2023) 38 (1 (112)): 103–131.

DOI: https://doi.org/10.1215/02705346-10278614

Published: 01 May 2023

..., as well as the “very basic elements” of voice, language, and wood from various trees (used to produce a range of percussive sounds). Reflecting on the creative process, Jóhannsson comments: It immediately became clear that the human voice would play a large part in the score, but I wanted to use...

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Journal Article

Marina Abramović's Performance: Stresses on the Body and Psyche in Installation Art

Maureen Turim

Camera Obscura (2003) 18 (3 (54)): 99–117.

DOI: https://doi.org/10.1215/02705346-18-3_54-99

Published: 01 December 2003

...), and The Films of Oshima Nagisa: Images of a Japanese Iconoclast (Berkeley: University of California Press, 1998). She has also published over seventy essays in anthologies and journals on a wide range of theoretical, historical, and aesthetic issues in cinema and video, art, cultural studies, feminist...

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Journal Article

Re witched : Retextuality and the Queering of Bewitched

Taylor Cole Miller

Camera Obscura (2021) 36 (3 (108)): 1–31.

DOI: https://doi.org/10.1215/02705346-9349315

Published: 01 December 2021

... they are not the original mosaic but a new work of art altogether—a new text. In what follows, I define retextuality through an overview of the syndication industry's invisible authorship and creative production practices, and I model the case study of different Bewitched s with politically opposing encodings — one...

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Journal Article

The Dream of the Nineteenth Century

Kaja Silverman

Camera Obscura (2002) 17 (3 (51)): 1–29.

DOI: https://doi.org/10.1215/02705346-17-3_51-1

Published: 01 December 2002

..., but on two occasions a woman presents herself as a speaking subject at the level of the image as well as the sound, thereby laying a more emphatic claim to the ﬁrst-person pronoun. In part 2A, a girl (Julie Delpy) reads a lengthy text about the intoxication of travel, in part from a position in front...

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Journal Article

“Sometimes It Seems You’re in Another World”: Afrocentric Feminisms of the LA Rebellion

Jamie Ann Rogers

Camera Obscura (2020) 35 (2 (104)): 125–157.

DOI: https://doi.org/10.1215/02705346-8359552

Published: 01 September 2020

... with the symbolic images, sounds, and history of African ritual . . . [Rasheeda] alone makes progress in the clean- ing of her home and caters to her own bodily cleaning; yet, in the dream sequence, she is connected spiritually with a community of women s play and progress (242). The film closes by evoking...

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Journal Article

Lena Horne's Impersona

Shane Vogel

Camera Obscura (2008) 23 (1 (67)): 11–45.

DOI: https://doi.org/10.1215/02705346-2007-022

Published: 01 May 2008

... that worked against and displaced Hollywood’s and the culture industry’s ideologically and racially 24 • Camera Obscura organized star image. Sound-image is, of course, also the word Ferdi- nand de Saussure used to define the signifier, that linguistic entity that conjures a corresponding concept...

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Journal Article

A New Form for a New People: Forugh Farrokhzad's The House Is Black

Sara Saljoughi

Camera Obscura (2017) 32 (1 (94)): 1–31.

DOI: https://doi.org/10.1215/02705346-3661982

Published: 01 May 2017

... relations between sound and image corresponds with the projection of a collectivity to come. The article argues that the film does not seek to humanize the members of the leper colony but rather to radically rethink the relation between the filmmaker and the subjects of the film. This new relationship...

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Journal Article

Race as Technology

Beth Coleman

Camera Obscura (2009) 24 (1 (70)): 177–207.

DOI: https://doi.org/10.1215/02705346-2008-018

Published: 01 May 2009

... conceived as tool (as the possibility for production and creativity). The concept of race as technology does not directly refute the recent truth claims of genetic readings that can allegedly offer 194 • Camera Obscura a precise diagnosis of heredity and predict health and intelligence...

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Journal Article

Strategic Sentimentality: Nostalgia and the Work of Eleanor Antin

Alisa Lebow

Camera Obscura (2007) 22 (3 (66)): 129–167.

DOI: https://doi.org/10.1215/02705346-2007-017

Published: 01 December 2007

... in such a way as to deny or conceal all contradictions, counterarguments, and complexity. In contrast, critical nostalgia 136 • Camera Obscura would allow for a more nuanced view of the past, recognizing the “creative” act of formulating the image of that past, and doing so in the service...

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NARROW

creative concept opposing sound and image

NOW , Chantal Akerman’s Last Work

Voices from Beyond the Grave: Virtual Tupac's Live Performance at Coachella

Desire in Art and Politics: The Theories of Jean-François Lyotard

“Desire Shifts the Differance”: Figural Poetics and Figural Politics in the Film Theory of Marie-Claire Ropars

The Film Stilled

Introduction to “Metaphor/Metonymy, or the Imaginary Referent”

Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability

Reading the Figural

Art on Film at Finch College: Reproductive Labor in the Enrichment Economy

The Face Is a Politics: A Close-Up View of Julie Dash's Illusions

A Problem of Fit : Athina Rachel Tsangari and Greek “Weird Wave” Cinema

Gift or Weapon? Reproductive Decision, the Phenomenology of Pregnancy, and Alien Language in Denis Villeneuve's Arrival

Marina Abramović's Performance: Stresses on the Body and Psyche in Installation Art

Re witched : Retextuality and the Queering of Bewitched

The Dream of the Nineteenth Century

“Sometimes It Seems You’re in Another World”: Afrocentric Feminisms of the LA Rebellion

Lena Horne's Impersona

A New Form for a New People: Forugh Farrokhzad's The House Is Black

Race as Technology

Strategic Sentimentality: Nostalgia and the Work of Eleanor Antin

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creative concept opposing sound and image

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