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Journal Article
Camera Obscura (2014) 29 (1 (85)): 1–3.
Published: 01 May 2014
...Therese Davis; Belinda Smaill This introduction to the special issue titled “The Place of the Contemporary Female Director” outlines the genesis of the issue and aims of the editors. Building on a workshop that took place in Film and Television Studies at Monash University, Melbourne, in 2011...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
...Belinda Smaill This article discusses contemporary Danish director Susanne Bier, whose recent features have received international exposure and acclaim. It situates Bier as a female filmmaker, analyzing what her status as a female director might add to a reading of the circulation of her work...
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Published: 01 May 2021
Figure 6. 50/50 en 2020, “Female Directors Selected in Competition,” 1946–2018, in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes More
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Published: 01 May 2021
Figure 9. 50/50 en 2020, “Cannes Film Festival Board of Directors,” in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes More
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
...Julia Vassilieva This article explores the work of young Russian female director Valeria Gai Germanika. Germanika has gained a public profile over the last ten years through documentary shorts such as Sisters ( Syostry , 2005), Girls ( Devochki , 2005), and Boys ( Malchiki , 2007); feature film...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
...Claire Perkins At first glance, the US indie sector appears to defy Manohla Dargis's 2008 identification of a “new, post-female American cinema.” A significant number of women directors develop female-driven films in the industrial and aesthetic space between mainstream and avant-garde...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... that contemporary directors activate cruel celebrity culture in three interrelated ways. I begin by discussing the spectator's role, a position from which the noncelebrity takes pleasure in witnessing the celebrity's destruction. The spectator's cruel desire to see more and more of the celebrity's destruction...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 179–186.
Published: 01 May 2017
...Alicia Kozma This article examines Stephanie Rothman and her career as a second-wave exploitation film director between 1966 and 1974. Marginally represented in film histories and archives, Rothman made seven films during her short career and flourished in the primarily masculinized world of second...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
...Ora Gelley The French director Catherine Breillat has in recent years become a kind of figurehead for what has been perceived by many as a new trend in contemporary European cinema toward extreme representations of violence and graphic sexuality. As a consequence of the controversy provoked...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
..., and avant-garde cinemas has generally been acknowledged by displacement, in literal or qualitative rubrics no longer recognized as historical (auteurism). The impact of media feminisms is personalized and dehistoricized in the contributions of individual female directors, either by being alphabetized...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 21–47.
Published: 01 December 2018
...Faye Stewart This study traces shared national narratives about women, work, and precarity in films made by East German women directors in the state-run DEFA studios before and after the fall of the Berlin Wall. A comparative analysis of Evelyn Schmidt’s Das Fahrrad ( The Bicycle , 1982) and Helke...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... of these discussions and explore their interrelations, by looking at the film through a history and analysis of cinematic reflexivity. As a metacinematic work both by and about an African American lesbian director, the film has much to say about the means of its own production and, even further, about the way...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 127–153.
Published: 01 May 2021
...Figure 6. 50/50 en 2020, “Female Directors Selected in Competition,” 1946–2018, in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes ...
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Published: 01 May 2021
Figure 3. The eighty-two women standing on the red carpet stairs, representing the eighty-two female directors with films in the official selection competition across the seventy-one-year history of the Cannes festival, 12 May 2018. Amancay Tapia, “If We Want Better Films, We Need More Female More
Journal Article
Camera Obscura (2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
...” Western audiences about oppression on the “dark continent.” The article focuses on the respective story lines, which indict Western corporations, and on the directors' manipulation of lightness and darkness as a means of literally rendering Western exploitation visible. Despite this potential, however...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
... to advance their critique of “managed life” during postwar economic growth. My readings focus on films by pink auteur Wakamatsu Kōji as well as roman poruno directors that feature residents of danchi — Japanese high-rise apartment complexes built to solve the postwar housing shortage. Wakamatsu maps...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 137–145.
Published: 01 December 2011
...Elena Gorfinkel Anna Biller, Los Angeles independent filmmaker, director, writer, producer, and star of the retro-sexploitation film Viva (2007) discusses her creative influences and production practice. Discussing the value of discarded generic modes such as 1960s sexploitation film and the use...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
...-director Johnson and producer Darryl F. Zanuck's eventual taming of Jones's power on the set mirrored the script's struggles between Betsy and her husband. But an analysis of the film and its production contexts also highlights the consequences of creating a masculine melodrama in a system that depended...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 146–153.
Published: 01 December 2011
... Bigelow's age and appearance, as well as her relationship with former husband and director James Cameron. Overall, Bigelow's public persona exists in a kind of no-woman's land. It includes male traits typically deemed necessary to achieve auteur status and sufficient female traits to soften her image...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
... are happening on two interconnected fronts. Directors otherwise marginalized within the larger film industry are refiguring narrative conventions by not only allowing for a multiplicity of experiences and perspectives among characters and story lines, but also mobilizing their storytelling structure...