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digital production

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Journal Article
Camera Obscura (2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
... produced as part of this project, Self-Portrait with Three Women (dir. Zhang Mengqi, China, 2010) and Children's Village (dir. Zou Xueping, China, 2012), the article argues that the project produces a counterhistory through collective film production in a digital format. These films foreground...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
... and the ‘digital divide’ that fail to measure digital production in favor of measuring access or consumption cannot tell the whole story, or even part of it.”29 Colour Separation has received attention from a number of scholars including Hansen and Wendy Chun. Hansen’s book New Philosophy for New...
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 (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
... about postwar New York city symphonies as productions of utopian space. © 2016 by Camera Obscura 2016 media collective digital distribution discussion film collective aesthetic New Day Films Figure 1. New Day Films poster, 1973. Commissioned by Liane Brandon, Jim Klein, Julia...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 5–33.
Published: 01 December 2016
... historical forms of media activism and current digital platforms for feminist activism. Figure 1. Jennifer Gilmour, left, and Marusya Bociurkiw, right, of Emma Productions, 1985 Big Affect: The Ephemeral Archive of Second-Wave­ Feminist Video Collectives in Canada Marusya...
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 (2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... of neoliberalism demonstrates that embodiment in digital image networks emerges as a mode of intervention into the biopolitics of memory. Embodiment becomes the ghost in the machine of the film’s vision of neoliberal labor and memory markets. By focusing on the particular aesthetic means by which the film thinks...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 1–29.
Published: 01 May 2022
... participation allows us to see how Black girls have been contributing to social discourses around the issues that impact their lives the most, and Black girls’ contemporary digital practices can be historicized within a Black media tradition as a whole. This genealogy makes Black girls’ digital production...
FIGURES
Journal Article
Camera Obscura (2016) 31 (3 (93)): 99–131.
Published: 01 December 2016
... Sandberg's ongoing Lean In project to a longer genealogy of cybernetic imaginaries, capitalist economism, and governmentality, the author questions the assumptions and occlusions that result when sociality and digitality are conflated. Figure 1. Louisa Minkin, detail of Yes to Life, 2013, digital video...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 63–101.
Published: 01 December 2006
... differentiation of users and used has served to obscure. Aligning digital networks such as hypertext with weaving and textile production, Plant argues that weaving provides a histori- cal precedent and a model for the inextricability of process and product, of the medium and the meaning, of means and ends...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
...Scott MacKenzie; Anna Westerståhl Stenport Arnait Video Productions is one of the most aesthetically diverse feminist collectives in the world. Founded in 1991 in Igloolik, Nunavut, Canada, by Madeline Piujuq Ivalu and Marie-Hélène Cousineau as the first women's Inuit filmmaking collective, Arnait...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 88–115.
Published: 01 December 2020
...) workers control of production, not the end of work. Wages for Face- Work: Black Mirror s Nosedive and Digital Reproductive Labor Erin Greer Camera Obscura 105, Volume 35, Number 3 doi 10.1215/02705346-8631571 © 2020 by Camera Obscura Published by Duke University Press 89 90 Camera Obscura More clicks...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 65–97.
Published: 01 September 2021
... an unprecedented role in the production of contemporary society and the relations that govern it. 3 This essay argues that the modulation of the human voice offers a paradigmatic instance for understanding the overall logic of conditioning in digital ecologies, as well as a privileged historical site...
FIGURES | View All (7)
Journal Article
Camera Obscura (2021) 36 (1 (106)): 109–125.
Published: 01 May 2021
... another kind of production: the use of public and private monies to fund the digital restoration of the catalog. Although the photochemical restoration of the works of Demy in the late 1990s had been exhausting and time-consuming, Ciné-Tamaris launched the digital restoration of the catalog in 2011 so...
FIGURES
Journal Article
Camera Obscura (2013) 28 (2 (83)): 151–175.
Published: 01 September 2013
...Jonathan Cohn This article focuses on the birth of social networking and digital recommendation technologies and their relationship to current cultures of postfeminism and neoliberalism. These technologies, primarily designed to bring users in touch with other people and consumer goods, are tied...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 1–37.
Published: 01 May 2011
... and enact an oppositional political economy of the body. Such a political economy does not traffic in the neoliberal rhetoric of rational disembodiment but rather animates the material realities of race, gender, generation, sex, and class that frame the (digital and real) production...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
...Katherine Fusco This article argues that Virtual 2Pac , created in 2012 by Digital Domain Media Group in collaboration with Dr. Dre for the Coachella Valley Music and Arts Festival, represents an important twenty-first-century challenge to the relationships between performance and performer, film...
Journal Article
Camera Obscura (2006) 21 (2 (62)): 192–195.
Published: 01 September 2006
...Marie-Luise Angerer Camera Obscura 2006 Marie-Luise Angerer is a professor of gender [] media at the Art Academy of Media, Cologne, Germany. Her research focuses on affect and sexuality in media, art, and digital environments. Her publications include “The Making of... Desire, Digital...
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 (2020) 35 (3 (105)): 116–131.
Published: 01 December 2020
... (fakenews- poetry.org), with a recent book of poetry and related essays, Really Fake, with Nishant Shah (2020). When Are You Going to Catch Up with Me? 131 Figure 6. I.K.U. (dir. Shu Lea Cheang, 2000). Production still. Courtesy of Uplink Tokyo cyberpunk digital media feminist porn Shu Lea Cheang...