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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
...Denise Mann © 1984 by Camera Obscura 1984 Modem Sexuahty (1979) Staggering Toward Modern Times: The Video Art of Max Almy DeniJe Man n Max Almy’s video art moves from the highly personal, low-tech, black and white multi-monitor performance piece to that of the multi-layered...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
...Denise Mann Copyright © 1988 by The Johns Hopkins University Press 1988 Better Hom es and Gardens 30 (Feb. 1952 ), p. 154 The Martha Raye Show The Spectacularization of Everyday Life: Recycling Hollywood Stars and Fans in Early Television Variety Shows Denise Mann...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 7–11.
Published: 01 December 1982
... paradoxically, along the two parallel tracks of difference and language which meet in this film in a peculiarly ambivalent notion ofpavole defemme. Sauve quipeut (la vie) opens with a shot of Denise riding her bicycle in the country. This image and those associated with it-writing at the window-seat...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 116–123.
Published: 01 December 1982
... fiction, a mere fifteen orchestrated “skids” [variations on stop-action nioments] are sufficient: from the first series of shots of Denise on her bicycle (but “shot” is not the right word: the slide toward painting is effected by means of a redis- tribution it may henceforth be impossible to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 20–31.
Published: 01 December 1982
... resistance to male narrative logic at the level of characters, as well as mornents given over to a woman alone (Denise at the window-seat with her notebook) or women together (Denise and Isabelle in the car) that are significantly different from scenes to which they might be compared from earlier...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2003) 18 (2 (53)): 152–153.
Published: 01 September 2003
.... Prison Nation: The Warehousing of America’s Poor. New York: Routledge, 2003. James, Nick. Heat. London: British Film Institute, 2002. Kellner, Douglas. Media Spectacle. New York: Routledge, 2003. Knight, Denise D., and Cynthia J. Davis, eds. Approaches to Teaching Gilman’s “The Yellow Wall...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 164–165.
Published: 01 December 1984
...- lished by the University of Minnesota Press. A special issue of Diacn2ics on Lyotard’s work will soon appear; it will include an exhaustive bibliography. Denise Mann received an MFA in film production from UCLA. She has just completed an experimental melodrama entitled Margan‘ta...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 169–170.
Published: 01 December 1984
..., Denise Staggering Toward Modern Times. Vol. 4, no: 12; pp. 5-17. McCarroll, Luli Dissecting The Bod’ Human: The Sexes. Vol. 4,no. 11; pp. 87-101. Morris, Meaghan Identity Anecdotes. Vol. 4, no. 12; pp. 41-65. Polan, Dana “Desire Shifts the Differance”: Figural Poetics and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 12–19.
Published: 01 December 1982
... sports field scene, as well as others marked with the icons of the pornographic, is its larger narrative frame. Sauve qui peut (la vie)’s fictional origin of enunciation is quite possibly Denise from whose novel-essay-diary we hear extracts throughout the film. (Isabelle: “Is your project a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 4–8.
Published: 01 January 1988
... Kate and Allie through their previous encounters with "new women," and that the show offers contradictory positions of identifica• tion-ones based on traditional nuclear family models, but also on newer definitions of femininity. Denise Mann uses memory to illustrate how female...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 157–159.
Published: 01 September 1988
... Serial Drama, 1946• 1970: UCLA Film and Television Archive. No.16; pp. 205-225. Lipsitz, George The Meaning of Memory: Family, Class and Ethnicity in Early Network Television Programs. No.16; pp. 79-116. Mann, Denise The Spectacularization of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1981) 3 (1 (7)): 128–135.
Published: 01 May 1981
... doctors, our husbands, everybody but ourselves. ” Healthcaring, directed by Denise Bostrom and Jane Warrenbrand, assumes a more polemical stance toward medicine in its extensive use of testimonials that detail the pain, humiliation and helplessness that women have suffered from their...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 12–31.
Published: 01 September 1995
...- ative qualities of hair. With our stylists we create what columnists Tonya Jeeter and Denise Crittendon refer to as “fantasy do’s”-hair that stands from literally eight to ten inches tall from the top of our heads, that can be cut in a myriad of geometrical shapes, worn in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 145–151.
Published: 01 December 2006
... Our End of the Speculum (dir. Denise Bostrom and Jane Warrenbrand) encouraged the entry into distribution, which came to be and remains the organization’s focus. Debra Zimmerman, director since 1984, found out about Women Make Movies at a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 40–52.
Published: 01 December 1989
... translation in Dérives 52. Noël , Lise . “Cette sensibilité qu'on dit féminine.” Liberté 151 ( 1985 ). La Parole métèque: Ie magazine du renouveau féministe 8 (Winter 1989 ). “L'image des femmes dans les médias.” Special issue on women and media. Pérusse , Denise . “La...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 336–372.
Published: 01 December 1989
.... -. Gender, Representation, and Struggle: A Feminist Cultural Studies Perspective on Textual Analysis, Hollywood Film Melodramas of the 1950s. Forthcoming. Camera Obscura 16 (1988). Special Issue: “Television and the Female Con- sumer.” Edited by Denise Mann and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
...” documentary production from 1976, Healthcaring: From Our End of the Speculum (dir. Denise Bostrom and Jane Warrenbrand, US), was a significant cinematic application of consciousness raising in the context of the women’s health movement. Histories of the women’s health movement tend to single out the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
... preferred mode for its ability to focus attention directly on issues of importance to women. The WMM classic, Healthcaring: From Our End of the Speculum  (US, 1976), directed by Denise Bostrom and Jane Warrenbrand and produced by WMM cofounders Ariel Dougherty and Sheila Paige, is a typical...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 113–135.
Published: 01 May 2007
... repetition), the men find their speech and their alibis running out of control. Speech Marks “It is boring,” Denise Riley once remarked, “to be always wounded.”23 Moving away from the ressentiment of identity politics, Riley’s bored subject alters the wound from within, begins to play with the...