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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
...Elizabeth Coffman; Erica Stein New Day Films was formed in 1972 as a feminist media collective to distribute films addressing gender issues. Forty years later, New Day boasts close to two hundred members and yearly distribution profits of $1 million. This article uses New Day's history to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2002) 17 (1 (49)): 189–215.
Published: 01 May 2002
... medicine and reproductive technology, and her essays have appeared in the journals Genders, English Literary History, Women's Studies , and Literature and Medicine . Jan de Bont directs Bill Paxton and Helen Hunt in Twister (1996). A Blustery Day for a Baby: Technologies of Family Formation...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2002) 17 (2 (50)): 155–189.
Published: 01 September 2002
... representation of animals, knowledge, and expertise. Angela Bassett and Ralph Fiennes in Strange Days (dir. Kathryn Bigelow, US, 1995) Can “We All” Get Along? Social Difference, the Future, and Strange Days Mark Berrettini Several of the disparate character-driven narrative threads in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2002) 17 (2 (50)): 191–217.
Published: 01 September 2002
... racialization, kinship, and sexuality under US slavery. Ralph Fiennes in Strange Days (dir. Kathryn Bigelow, US, 1995) Strange Days and the Subject of Mobility Brian Carr This is not like TV, only better. This is life. It’s a piece of somebody’s life. It’s pure and uncut—straight...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2004) 19 (2 (56)): 141–169.
Published: 01 September 2004
... made. Courtesy Georgetown University Library Lois Weber, Progressive Cinema, and the Fate of “The Work-a-Day Girl” in Shoes Shelley Stamp A profile of filmmaker Lois Weber published shortly after the release of her 1916 film Shoes (US) celebrated her ability to “set forth in a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
...). The Day I Became a Woman (dir. Marziyeh Meshkini, Iran, 2000) Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini’s The Day I Became a Woman Michelle Langford Why should I stop, why? The birds have gone off to find water ways the horizon is vertical and moving...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 145–151.
Published: 01 December 2006
... C H I V E F O R T H E F U T U R E The Last Days of Women’s Cinema Patricia White Claire Johnston’s “Women’s Cinema as Counter Cinema,” with its injunction that “women’s cinema . . . embody the working through of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 161–171.
Published: 01 September 2010
... Nicaragua, In the Absence of Peace (1988). Filmmaker Amy Serrano IN PRACTICE: activist video Documenting Modern-­Day Slavery in the Dominican Republic: An Interview with Amy Serrano Michael T. Martin Modern-­day slavery is the subject of increasing concern and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... the media and further washed out and disfigured by video reproduction in Superstar: The Karen Carpenter Story. Grainy Days and Mondays: Superstar and Bootleg Aesthetics Lucas Hilderbrand The year is 1970, and suddenly the nation finds itself asking the question, “What if...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 43–75.
Published: 01 September 2009
... with Ziba Mir-Hosseini; The Day I Will Never Forget (2002), made in Kenya; and Sisters in Law (2005), codirected with Florence Ayisi in Cameroon. Each focuses on marginalized subjects who also act as the agents of social transformation. Analyzing how the women in these films negotiate the intersection...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
...Raz Yosef This article explores the relationship between trauma, gender, and ethnicity in the Israeli film Or, My Treasure (dir. Keren Yedaya, Israel/France, 2004). The film presents a few routine days in the life of Ruthie, a Mizrahi (Jews from Arab countries) prostitute, and her daughter, Or. I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
... contracts to repeat and return to the object of desire. In arguing that the ao dai (long dress) photograph as a copy-image of a lost or disappearing referent is central to a contemporary diasporic erotic — a feeling-state of disrupted history rendered (and recovered) in mythical terms through love and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
... Weimar period. Through the placement of the female minor characters, Berlin Alexanderplatz challenges the traditional terms of value often associated with the historical television miniseries. Contra contemporaneous miniseries like Heimat (WDR/SFB, West Germany, 1984), Roots (ABC, 1977), and Days of Hope...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
... early 1980s, the author goes on to explore the reasons for the continuing underrepresentation of women in the ranks of film directing. Moving beyond statistics and hiring practices, the article raises issues of psychological formation that impede women's full participation to this day. B. Ruby...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2002) 17 (2 (50)): 109–153.
Published: 01 September 2002
... represent them in film and visual media) and an essay on body transformation in early cinema. An alien spaceship hovers over New York City in Independence Day (dir. Roland Emmerich, US, 1996). Spectacles of History: Race Relations, Melodrama, and the Science Fiction/Disaster Film Despina...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 166–191.
Published: 01 May 1994
..., was the 1989 rescue of The Days and Nights of Molly Dodd after that series’ cancellation by NBC, which entailed not only the daily retelecast of the original network episodes, but the new production of several additional seasons, and which garnered an enormous amount of pub- licity for...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 47–51.
Published: 01 May 2006
... best model for both ironic and sincere viewing is offered by The Gilmore Girls; the eponymous girls enjoy the Brady Bunch Variety Hour as much as they enjoy Grey Gardens. But it’s hard to imagine them giving the time of day to a reality show about a woman explaining why her self-confidence will...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 3–4.
Published: 01 May 1979
... Copyright © 1979 by Camera Obscura 1979 Editorial : Feminism, Fiction and the Avant-Garde In May 1978 three members of the Camera Obscura collective (Janet Bergstrom, Elisabeth Lyon and Constance Penley) gave a two day conference at the London Film Co-op on “Feminism, Fiction and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 3–5.
Published: 01 December 1980
... Ottinger, Cristina Perincioli, Helge Reidemeister, Helke Sander, and Helma Sanders- Brahms. Subtitled copies of their films will be shown around Los Angeles over a six- week period, from the beginning of October. The filmmakers will be giving all-day seminars at: UCLA (Nov. lo), UC-Irvine...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 224–227.
Published: 01 May 1979
... and her need for privacy and a relationship impossible to satisfy in the space of a 24 hour day. She tries to cut down, to order her priorities. She works with a group of women on a collective project, for which they could receive some money, which involves...