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Journal Article
Camera Obscura (2002) 17 (2 (50)): 155–189.
Published: 01 September 2002
... the 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...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
... involvement in cinema as a global system, and into the complexity of contemporary Indigenous filmmaking in Australia as a specialist sector that operates within while remaining different from the state-funded national film industry. Therese Davis is the author of The Face on the Screen: Death...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 14–20.
Published: 01 May 1979
... be described as specifically “feminine” or “feminist.” For us, as well as for other women involved in different areas of cultural and theoretical work, thinking about what we mean when we assert feminine specificity continues to be a major issue involving reformulation and re-examina- tion...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 32–69.
Published: 01 May 1979
... Cedex 2 France (10 francs) 1977. Jacqueline , Rose “Dora - Fragment of an Analysis.” m/f , 3-1 ( 1978 ). Hitchcock’s sketches for The Birds (courtesy Cahiers du Cinh) Enunciation and Sexual Difference (Part Janet Bergstrorn I. Introduction There is a great deal of confusion...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 88–109.
Published: 01 May 1981
...Lea Jacobs © 1981 by Camera Obscura 1981 Now Voyager: Some Problems of Enunciation and Sexual Difference Lea Jacobs The representation of sexual difference in the Hollywood cinema has been described as a double movement in which woman functions as a term of difference...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 274–295.
Published: 01 September 1991
...Sharon Willis Copyright © 1991 by The Johns Hopkins University Press 1991 Special Effects: Sexual and Social Difference in Wild at Heart Sharon Willis A recent issue of Movieline magazine (September, 1990) carries two related articles that capitalize on David Lynch’s name...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 66–85.
Published: 01 December 1984
... or Sorlin’s). The study thereby dis- mantles the fuities of individuality while maintaining the difference of voices. A theory of non-mastery necessitates a new, open style, and it is important to note how Ropars accompanies her meditations on film writing with an attention to the status...
Journal Article
Camera Obscura (2019) 34 (2): 163–193.
Published: 01 September 2019
... liberalism’s paradigmatic other. Although it builds on these critiques, the essay asks how these logics play out quite differently in a majority Buddhist society and in a modernity that is not understood only as secular. The essay investigates how contemporary globally circulating Thai films furnish...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 1–31.
Published: 01 December 2021
... far-right, anti-gay hosts. Bewitched 's ability to appeal to these very different channels’ brands and audiences underscores a textual vigor and sustainability for success in syndication that even the best so-called quality shows today lack. While some may deride a study of syndication (and reruns...
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Journal Article
Camera Obscura (2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
... billion images in the past four years alone. The writings of media theorist Mark Hansen offer a provocative starting point to explore how a desire for racial neutrality can lead to the unintentional repression of important forms of cultural difference. Two models of ethics, grounded in the writings...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
.... Cuarón's film deploys certain cinematic strategies to represent difference: from disjunctures between sound and image and a cinematic obsession with lingering on “incidental” details that lends them allegorical significance to an extended chase sequence. The place of race and biopolitics in this film...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 1–37.
Published: 01 December 2012
... ideas of racial progress and recombines them with different narratives and ideologies so that audiences may receive them as new and cut off from history. By centering its finale on the survival of one genetically idealized child, Battlestar constructs a new narrative context for an old story...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
... to be shaped by this very difference. Further, through initiatives like the African-American Film Festival Releasing Movement, networks of filmmakers and film enthusiasts from communities historically mis- or underrepresented in film are beginning to shift the constitution of festival audiences and thereby...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 169–179.
Published: 01 December 2012
..., that there are different bourgeoisies and different undergrounds and they can clash in many ways. Just as we still live with the heritage of May 1968 in Paris, in the experimental film world so too we still live with the aftermath of EXPRMNTL 4 in 1967 in the small town of Knokke. When the fifth edition of the festival...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 111–135.
Published: 01 May 2014
... reception. The author argues that the film occupies an in-between space as a result of its movements between different genres, audiences, and agendas. Reading The Kids Are All Right in relation to Cholodenko's previous films, the author examines how it tracks, explores, and is marked by the spaces between...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... and vice versa, and their constant association with that which is considered gross (like dirt, vomit, and feces) is habitually a sign of what emotional and economic insecurity has wrought. However, race makes a critical difference in the treatment of abjection in these two shows. While Girls is a study...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 187–201.
Published: 01 May 2016
.... The repertoire of photographic works by Wendy Ewald, Susan Meiselas, and myself includes many such projects, but we put them side by side with projects in which, for example, the relationship between the different protagonists is less clear, the intentions behind the acts of photography are less favorable...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... spaces and aesthetics for producing collective memory that differently configure spectatorial interaction and social intervention. Counterposing the hyperindustrialized military vision of the fictional reality TV show Drones with the social media–styled memory market TruNode, the film’s caricature...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... politics, even as the filmmakers express them through widely different means. The article focuses primarily on three films that span the final decade in which Rebellion filmmakers were active at UCLA: Barbara McCullough’s Water Ritual #1: An Urban Rite of Purification (1979), Alile Sharon Larkin’s...
Journal Article
Camera Obscura (2025) 40 (1 (118)): 28–65.
Published: 01 May 2025
... deeply fraught questions concerning gender, sexuality, disability, and sexual violence. Constructed around two differently gendered, disabled protagonists, the film's non‐ableist narrative and looking relations affectively situate audiences and critics within a three‐pronged inquiry: how are fantasy...
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