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Journal Article
Camera Obscura (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
... to illuminate the economic and political implications of the media collective's recently developed digital platform. It argues that this distribution format extends the logic of the collective, which has informed both New Day's institutional culture and its dominant aesthetics. Drawing on interviews with key...
View articletitled, New Day Films, <span class="search-highlight">Digital</span> <span class="search-highlight">Distribution</span>, and Collective Aesthetics
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Journal Article
Camera Obscura (2016) 31 (3 (93)): 133–139.
Published: 01 December 2016
...Elizabeth Losh Tactics for feminist organizing are changing with the rise of new technologies. From the standpoint of expending digital labor, not all of these changes seem to be for the better. This essay looks at the practices of the international collective FemTechNet, a network of hundreds...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... to address the under- and misrepresentation of women in film and media; today, the New York–based nonprofit supports the creation and circulation of independent film and media by and about women through its production assistance program, extensive distribution service, and advocacy role. The conversation...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 177–183.
Published: 01 December 2016
... focuses on the censorship of femininity and sexuality in Italian cinema in the 1950s and 1960s. For the project, Radha May retrieved censored scenes that had never been seen in public and created a film installation, a performance, and a digital publication. She distributed the recovered material further...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 109–125.
Published: 01 May 2021
... actually all that matters. 38 Ciné-Tamaris's restorations were rarely isolated projects; they were nearly always linked to other initiatives, such as museum exhibitions, theatrical rerelease, film retrospectives, festival screenings, and DVD distribution. Budgeted into each digital restoration...
FIGURES
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
... in the Arctic.1 The suc-
cess of Arnait builds on the distribution and exhibition strategies
deployed by the well-known Nunavut-based video and film collec-
tive Isuma, as the two institutions share a common history. As the
Camera Obscura 93, Volume 31, Number 3
doi 10.1215/02705346-3662066 ©...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 99–131.
Published: 01 December 2016
... theory,
and network theory.
In determining the depth and distribution of this associa-
Notes on Digital Community and Revolution • 101
tion between digital-communicative worldviews and the logic of
a capitalist economism — as well as the paradoxical combination...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
...Zoë Druick In her digital video work Mass Ornament (2009), the Testament series (2009), and Now He's Out in Public and Everyone Can See (2012), US artist Natalie Bookchin gathers clips from video blogs in which people perform dances and discuss personal and political issues, from sexuality...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
... of new media in the Department of Art and Art History at Stanford University. Her doctoral dissertation in the Department of Modern Culture and Media at Brown University was titled “Indiscrete Media: Television/Digital Convergence and Economies of Online Lesbian Fan Communities,” and she is currently...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 141–171.
Published: 01 December 2023
... always determined social formations within capitalism, but it has been newly energized in contemporary modes of capitalism after digital computing, and newly weighted in contemporary renderings of the nation‐state as service provider. This essay turns to a cultural moment in which a privatized user...
FIGURES
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Journal Article
Camera Obscura (1990) 8 (3 (24)): 11–45.
Published: 01 September 1990
... and digital
image processing as well as the “broadcast” distribution, rather than
the “physical” distribution of commodities, along with the economic
and legal apparatuses that support them.2 How can critical thought
engage these new modes of expression and comprehend the forms of
reading they have...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 1–29.
Published: 01 May 2022
... and the representational and expressive needs of Black girls, founders of digital magazines like Sesi and Melt center Black girls. Despite their expansive Black-girl content, both publications illustrate the barriers presented by magazines themselves in terms of operations, distribution, and access. But the Internet...
FIGURES
Journal Article
Camera Obscura (2012) 27 (3 (81)): 137–147.
Published: 01 December 2012
... the effects on experimental media wrought by the proliferation of digital technologies, the deterioration of media formats, the migration of the moving image into the museum, the experimental community's greater sense of itself as international, and shifts in the kinds of institutions and informal structures...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 231–239.
Published: 01 May 2021
... digital transition as a model, the author interrogates the potential for online platforms to serve as a kind of scholarly postcard that offers accessible and more sustainable practices for sharing research and building more resilient and inclusive academic communities. 7. Bluher, “Varda's Gift,” 294...
FIGURES
Journal Article
Camera Obscura (2020) 35 (3 (105)): 88–115.
Published: 01 December 2020
...Erin Greer The episode “Nosedive” from the Netflix series Black Mirror (dir. Joe Wright, Netflix, UK, 2016) provides a dystopian version of a popular narrative about digital culture, according to which the ascent of social media marks the “feminization of the Internet,” its transformation from...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 65–97.
Published: 01 September 2021
...Lisa Åkervall Abstract This essay takes the auto-tuned viral video “Can't Hug Every Cat” as a point of entry for a broader analysis of how modulation decisively shapes politics, aesthetics, and gendering in contemporary digital ecologies. It uncovers how the exaggerated exhibitions of feminine...
FIGURES
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Journal Article
Camera Obscura (2024) 39 (2 (116)): 189–218.
Published: 01 September 2024
... to simultaneously claim agency over a queer identity and, ultimately, enhance perceived authenticity through the revelation of performance and the reflexive rebirth of digital persona. These strategies exemplify an aesthetic of queer, postmodern YouTube microcelebrity necessitated, in part, by the site's increasing...
FIGURES
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Journal Article
Camera Obscura (2007) 22 (1 (64)): 197–208.
Published: 01 May 2007
... a lesbian child custody battle, which led to the foundation
of Iris Films, a production and distribution company that focused
on the lives of lesbians.
Other distributors of work by women such as New Day Films
and the Video Data Bank were coming into being. Enter Laura
Mulvey’s transformative...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... exacerbated the intensity of the distributed,
collaborative practice of remembering, learning, cataloging, and
promoting on digital social sites.
The hypertextual quality of Park’s work is apparent, as his
newsfeed regularly features an archive of esoteric artworks, re-pub-
lications of texts he...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 1–37.
Published: 01 May 2011
... the ways in which some fashion-themed blogs refuse neoliberal fictions of freedom and digital disembodiment by deploying a radical politics of sentimentality that reembodies fashion and labor histories by publicizing the material realities of race, gender, generation, sex, and class that are typically...
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