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Journal Article
Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
...Nick Davis This article yields three new and interlocking readings of Julie Dash's Illusions (US, 1982), a classic of black feminist cinema frequently analyzed from the intersectional standpoint of gendered and racial representation. First, I explore Dash's potent use of close-ups at key points in...
Journal Article
Camera Obscura (1996) 13 (2 (38)): 116–131.
Published: 01 May 1996
...Julia Erhart Picturing What If: Julie Dash's Speculative Fiction Julia Erhart The first feature-length film by an African-American woman to gain nationwide critical recognition as well as national theatrical release, Daughters ofthe Dust was already the focus of considerable...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 184–185.
Published: 01 December 2014
.... 149 – 83 Nick Davis The Face Is a Politics: A Close-Up­ View of Julie Dash’s Illusions. No. 86: pp. 149 – 83 Therese Davis Between Worlds: Indigenous Identity and Difference in the Films of Darlene Johnson. No. 85: pp. 81 – 109 Therese Davis and Belinda Smaill...
Journal Article
Camera Obscura (1996) 13 (3 (39)): 154–155.
Published: 01 September 1996
... Screen: Allegories of technology in Atom Egoyan's Speaking Parts. No 38; pp. 93-116. Erhart, Julia Picturing What If: Julie Dash's Speculative Fiction. No 38; pp. 117-132. Farocki, Harun and Kaja Silverman In Her Place. No 37; pp. 93-124. Farred...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... straightening comb in Alile Sharon Larkin s first student film, The Kitchen (1975). In 1975, Julie Dash and Alile Sharon Larkin, two of the first women involved in the loose collective of Black UCLA film school students known as the LA Rebellion, released their first student films. Dash s Four Women, a dance...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 167–170.
Published: 01 December 2006
... decades: Julie Dash, Helke Sander, Rabina Rose, Ana Carolina, Marguerite Duras, Doris Dörrie, Chantal Akerman, Sally Heckel, Sally Potter, Joan Brader- man, Marlene Gorris, Su Friedrich, and Valie Export. Whether or not these film/videomakers were influenced directly by Mulvey’s essay is moot; its...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 194–199.
Published: 01 May 2008
... silk cravats so dashing, and yet I do not know the proper etiquette because this dream- boat is not human. He is an anagogic demon, a being who can read people’s destinies when they sing. In the fictional (dammit) world of the television series Angel (1999 – 2004), this man — sorry, demon...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 161–171.
Published: 01 September 2010
... and Haile Gerima in Third Text  23, no. 6 (2009) and interviews with filmmakers Julie Dash inCinema Journal  49, no. 2 (2009), Joseph Gai Ramaka in Research in African Literatures  40, no. 3 (2009), Yoruba Richen in the Quarterly Review of Film and Video (forthcoming 2010), and Charles...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 118–133.
Published: 01 September 1995
... from the means of film produc- tion. Even Julie Dash’s box-office success, Daughters of the Dust (1991), makes little attempt to conform to traditional genre conven- tions for melodrama. Many of the critiques have taken the form of documentary, but in recent years especially, some...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
... venue that, as pro- grammed by Karen Cooper, has historically helped make classics of such women’s films as  Julie Dash’s Daughters of the Dust (US/UK, 1991). (In the months between Reichardt’s and Kim’s premieres, Film Forum’s revival screen featured the successful rerelease of  Jeanne...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
Journal Article
Camera Obscura (2020) 35 (2 (104)): 37–61.
Published: 01 September 2020
... by the African American feminist author, cultural critic, and filmmaker Toni Cade Bambara. Bambara s landmark essay Reading the Signs, Empower- ing the Eye identifies Julie Dash s 1991 film Daughters of the Dust (US) as a historical marker, representing a significant, if not mon- umental...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 157–191.
Published: 01 May 2012
Journal Article
Camera Obscura (2001) 16 (3 (48)): 9–57.
Published: 01 December 2001
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
Journal Article
Camera Obscura (1993) 11 (1 (31)): 48–70.
Published: 01 May 1993
..., that forms the film’s central tableau, and become integrated into the beggar community. Any moves towards cultural and economic advance and self-sufficiency from the people themselves are dashed in the polarization between the entrepreneurial elite and the under class it creates. In Xala...
Journal Article
Camera Obscura (2000) 15 (2 (44)): 151–175.
Published: 01 September 2000
Journal Article
Camera Obscura (2002) 17 (2 (50)): 41–67.
Published: 01 September 2002
... the “Great Masculine Renunciation.” As his biog- rapher writes, “His clothes were always conceived for ease of movement, they always have an element of hurry and dash about them” (37). He applied the same principles of simplicity and movement to his entire collection, from swimsuits to evening...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 169–193.
Published: 01 May 1988
... and frequently dash from one activity to another with only occasional glances towards the screen (Palmer 1986). At our “party,” children dragged several of Henry’s toys into the living room. A large stuffed He-Man doll was used alternately as a “seat belt,” lying...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
... “loyal community of females” constituted by the main six ponies: Twilight Sparkle, Apple Jack, Rarity, Pinkie Pie, Fluttershy, and Rainbow Dash.40 As Robert- son notes, despite comic or self-­reflexive elements, the program’s drama remains focused around “the ups and downs of friendship and the...