Skip Nav Destination
Close Modal
Search Results for
dir
Update search
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
NARROW
Format
Subjects
Journal
Article Type
Date
Availability
1-20 of 588
Search Results for dir
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
Sort by
Image
Published: 01 May 2021
Figure 1. The Young Girls of Rochefort ( Les demoiselles de Rochefort , dir. Jacques Demy, France, 1966) pressbook created by Ciné-Tamaris on the occasion of the DCP restoration of the film in 2013. The booklet contains an explanation of the restoration process, excerpts of the photo comic
More
Image
in She Listened: Vardian Self-Portraiture and Auto-Refrains of Sea, Wind, and Sand
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 1. Becoming-imperceptible: Visages Villages ( Faces Places , dir. Agnès Varda and JR, France, 2017) and Varda by Agnès ( Varda par Agnès , dir. Agnès Varda, France, 2019)
More
Image
Published: 01 December 2021
Figure 1. Still from So Many Ideas Impossible to Do All (dir. Mark Street and Barbara Hammer, US, 2019)
More
Image
in Thoughts on Making Films with Barbara Hammer
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 1. Image from A Month of Single Frames (dir. Lynne Sachs, US, 2019). Courtesy of the author
More
Image
Published: 01 December 2021
Figure 1. Belissa Andía as Makuti in Loxoro (dir. Claudia Llosa, Peru/Spain/Argentina/US, 2011)
More
Image
in Tumbling Backward: Scrolling, Temporality, and One Direction Fan Narratives on Tumblr
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 1. Harry Styles and Phoebe Waller-Bridge in Treat People with Kindness (dir. Ben Turner and Gabe Turner, UK, 2021)
More
Image
in The Reserve Army of Affectivity: Unemployed Labor in William Greaves's Psychodramatic Cinéma Vérité
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 1. The title of In the Company of Men (dir. William Greaves, US, 1969) appears over the frozen face of Charles Darby. Image courtesy of Indiana University Libraries Moving Image Archive
More
Image
in Incestuous Wanderlust: 35 Shots of Rum 's Atmospheres of Circulation
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 2. Joséphine and Noé dance ambivalently in 35 Shots of Rum ( 35 Rhums , dir. Claire Denis, France/Germany, 2009).
More
Image
in Incestuous Wanderlust: 35 Shots of Rum 's Atmospheres of Circulation
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 3. Joséphine and Lionel go camping in the coast of Lübeck in 35 Rhums (dir. Claire Denis, France/Germany, 2009).
More
Image
in Looking for Something New: Antonioni's La notte and Specters of Femininity
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 1. The panoptic point of view. La notte (dir. Michelangelo Antonioni, Italy/France, 1961)
More
Image
in Looking for Something New: Antonioni's La notte and Specters of Femininity
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 2. A “spotless mirror of placid affluence.” La notte (dir. Michelangelo Antonioni, Italy/France, 1961)
More
Image
in Looking for Something New: Antonioni's La notte and Specters of Femininity
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 3. The blank substance of enjoyment filling the entire frame. La notte (dir. Michelangelo Antonioni, Italy/France, 1961)
More
Image
in Looking for Something New: Antonioni's La notte and Specters of Femininity
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 4. A sealed capsule floating in darkness. La notte (dir. Michelangelo Antonioni, Italy/France, 1961)
More
Image
in Looking for Something New: Antonioni's La notte and Specters of Femininity
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 5. The phantasmagoric presentation. La notte (dir. Michelangelo Antonioni, Italy/France, 1961)
More
Image
in Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2022
Figure 2. Publicity still for Daughter of the Dragon (dir. Lloyd Corrigan, US, 1931). Paramount Pictures Corporation
More
Image
in From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2022
Figure 1. Esty framed in captivity in Unorthodox (dir. Maria Schrader, Netflix, 2020)
More
Image
in From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2022
Figure 2. Esty's transformative unveiling in Unorthodox (dir. Maria Schrader, Netflix, 2020)
More
Image
in From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2022
Figure 3. Esty striding through Berlin in Unorthodox (dir. Maria Schrader, Netflix, 2020)
More
Image
in “All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2022
Figure 1. A square of nine posts related to the screening of The Craft (dir. Andrew Fleming, US, 1996) on the Drunk Feminist Film Instagram account
More
Image
in “All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2022
Figure 3. GIF/Meme template from The Craft (dir. Andrew Fleming, US, 1996)
More
1