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Journal Article
The Cinema, Reader of Gilles Deleuze
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Camera Obscura (1988) 6 (3 (18)): 120–126.
Published: 01 September 1988
...Marie-Claire Ropars-Wuilleumier Gilles Deleuze, Cinema 1: The Movement-Image (Minneapolis: University of Minnesota Press, 1986: Minuit, 1983) and Cinéma 2: L'Image-temps (Minuit, 1985; forthcoming in translation) Copyright © 1988 by The Johns Hopkins University Press 1988 The Cinema...
Journal Article
Rape and the Rectum: Bersani, Deleuze, Noé
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Camera Obscura (2005) 20 (1 (58)): 33–57.
Published: 01 May 2005
... tous (I Stand Alone, dir. Gaspar Noé, France,
1998). Courtesy Strand Releasing
Rape and the Rectum:
Bersani, Deleuze, Noé
Eugenie Brinkema
The club is called Rectum, and everywhere one thinks of Bersani.
As Marcus and Pierre storm through the darkened red tunnels,
the space before...
Journal Article
The Face Is a Politics: A Close-Up View of Julie Dash's Illusions
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Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
... Gilles Deleuze and Félix Guattari, have called “lesbian minor cinema.” Finally, given Deleuze's centrality to my readings of faces as fields of active tension and of Illusions as minor cinema, I demonstrate how the film manifests but also challenges key ideas in Deleuze's three major accounts...
Journal Article
“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville
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Camera Obscura (2023) 38 (1 (112)): 55–79.
Published: 01 May 2023
...Eleanor Rowe-Stefanik Abstract This article reads Chantal Akerman's short film Saute ma ville ( Blow Up My Town , Belgium, 1968) with and against texts by Giorgio Agamben, Gilles Deleuze, and Herman Melville. Rather than being merely a precursor to Akerman's later genre‐defining efforts...
FIGURES
Journal Article
Learning to Love What Passes: Sensual Perception, Temporal Transformation, and Epistemic Production in Hirokazu Kore-eda's After Life
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Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... protagonist) that productively learns from and contributes to a sensual, humanistic, and epistemic perception. Combining analyses of Ozu's films (by Noël Burch, Gilles Deleuze, David Desser, and Donald Richie) with film theories (by Roland Barthes, Walter Benjamin, Mary Ann Doane, and Jean Epstein), I trace...
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Journal Article
Biopolitical Masochism in Marina Abramović's The Artist Is Present
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Camera Obscura (2017) 32 (1 (94)): 63–91.
Published: 01 May 2017
... the masochistic logic that structures biopolitics. Reading the masochistic behaviors of both Abramović and the performance's spectators through Gilles Deleuze's notion of the masochistic contract, this essay argues that the performance ultimately harnesses “living labor” in the service of the self-production...
Journal Article
The Fold of Undetectable
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Camera Obscura (2016) 31 (2 (92)): 167–173.
Published: 01 September 2016
... of Philosophy; or, the Monadology (1917), Leibniz formulates an ontology based on the double operation of “continuous fulgurations,” or what Gilles Deleuze would later term “the fold.” Existence, for Leibniz, is a production of the multiple that entails a simultaneous merging and diverging, unification...
Journal Article
Queer Film Settings as Sites of Resistance
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Camera Obscura (2020) 35 (2 (104)): 95–123.
Published: 01 September 2020
... a transnational countercultural stance in various uses of setting by concentrating on the notion of escape in a theoretical framework that draws on the work of Gilles Deleuze and Félix Guattari, José Muñoz, and Marc Augé. In the context of the study, the production of alternative spaces in queer cinema is treated...
Journal Article
Bodies in Water: Disability Cinemas and Creatures of the Sea
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Camera Obscura (2022) 37 (3 (111)): 115–143.
Published: 01 December 2022
..., to produce discontinuous and immaterial forms of life, and, in so doing, to challenge dominant notions of embodiment and wholeness. Drawing on contemporary work in disability theory as well as the writings of John Berger, Maurice Merleau-Ponty, and Gilles Deleuze, the author offers a reading of these films...
FIGURES
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Journal Article
Powers of Vision, Visions of Power
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Camera Obscura (1988) 6 (3 (18)): 106–119.
Published: 01 September 1988
...Dana Polan Gilles Deleuze, Foucault (Minneapolis: University of Minnesota Press, 1988) Copyright © 1988 by The Johns Hopkins University Press 1988 Powers of Vision, Visions of Power
Dana Polan
Gilles Deleuze, Foucault (Minneapolis: University of Minnesota Press, 1988...
Journal Article
Feminist Film in the Gallery: If 6 Was 9
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Camera Obscura (2005) 20 (1 (58)): 1–31.
Published: 01 May 2005
... concepts. Certain recurrent concerns sug-
gest an awareness of—or at least sympathy with—Gilles Deleuze
on the part of the artist herself: the portrayal of schizoid states
in many works—including Anne, Aki, and God (1998), The Present
(2001), and The Wind (2002)—could be infl uenced by Deleuze...
Journal Article
Reading the Figural
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Camera Obscura (1990) 8 (3 (24)): 11–45.
Published: 01 September 1990
... systematically
excluded or exiled: incommensurable spaces, temporal irreversibility,
nonlinear dynamics, logic unruled by the principle of noncontradic-
ti~n.~
Foucault through Deleuze, or the Diagrammatics of Power
You are still undoubtedly longing for a concrete example of figural
expression...
Journal Article
The Bachelor's Fantasy: Autoimmunity in Theory
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Camera Obscura (2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
... famous cogito ergo sum, wherein “the representation of the sub-
ject is re-presented to the subject once again as such.”2 Others have
agreed, if not in terminology then in the general thrust of the
argument — perhaps most famously Gilles Deleuze, who describes
modern baroque subjectivity...
Journal Article
The Film Stilled
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Camera Obscura (1990) 8 (3 (24)): 98–124.
Published: 01 September 1990
... not considered by Gilles Deleuze in his
dynamic taxonomy of images: the interruption of movement, the often
unique, fugitive, yet perhaps decisive instant when cinema seems to
be fighting against its very principle, if this is defined as the movement-
image. Still, we need to distinguish between...
Journal Article
Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini's The Day I Became a Woman
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Camera Obscura (2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
... a Woman palpably resonates with a conception of
becoming-woman similar to that theorized by Gilles Deleuze and
Félix Guattari and recently taken up for debate within feminist
theory.
Before moving on to my detailed discussion of the film
itself, let me explore the theoretical...
Journal Article
She Listened: Vardian Self-Portraiture and Auto-Refrains of Sea, Wind, and Sand
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Camera Obscura (2021) 36 (1 (106)): 61–85.
Published: 01 May 2021
.... Gilles Deleuze, Desert Islands and Other Texts, 1953–1974 , trans. Michael Taormina, ed. David Lapoujade (New York: Semiotext(e), 2004), 10. 12. Bluher, “Other Portrait,” 49; Cybelle H. McFadden, Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn (Madison, NJ...
FIGURES
Journal Article
“Becoming-Girl” in the New Russian Cinema: Youth and Valeria Gai Germanika's Films and Television
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Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... to imagine subjectivity through its figuration of youth
as a site of change. I mobilize Gilles Deleuze and Félix Guattari’s
concept of becoming-girl to argue that youth and femininity emerge
in her work not as the other side of the male subject of communism
but as another order of representation...
Journal Article
Vertigo and the Vertiginous History of Film Theory
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Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
...”
Camera Obscura 75, Volume 25, Number 3
doi 10.1215/02705346-2010-011 © 2011 by Camera Obscura
Published by Duke University Press
101
102 • Camera Obscura
(Modleski, Žižek) and to mark a point of fundamental crisis in
narrative cinema (Deleuze, Rancière, Orr).3 By now, Vertigo is so...
Journal Article
Gaylyn Studlar
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Camera Obscura (1989) 7 (2-3 (20-21)): 300–304.
Published: 01 December 1989
... charged by the subversive possibility of an
erotic female-to-female gaze and the paradox of masquerades that
exceeded feminine excess.
I found the key to a synthesis of my questions of textual strategy,
psychodynamics and spectatorship in Gilles Deleuze’s Masochism: An
Interpretation...
Journal Article
The Auto-Tuned Self: Modulating Voice and Gender in Digital Media Ecologies
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Camera Obscura (2021) 36 (2 (107)): 65–97.
Published: 01 September 2021
... it has played in debates around the control society is remarkable. Yet in thematizing the modulation of the (female) voice, “Can't Hug Every Cat” suggests their possible interrelations. Deleuze describes the modus operandi of control societies as one of control as modulation . “Enclosures are molds...
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