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Camera Obscura (2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
...Julie Levin Russo This article returns to Sigmund Freud's and Jacques Lacan's theories of scopophilia to intervene in a pessimistic thread of new media criticism. By complicating doomsday scenarios, it unpacks the complexities of exhibitionism iterated as online self-display, including aspects...
Camera Obscura (2008) 23 (3 (69)): 159–191.
Published: 01 December 2008
... bodies are constantly on display and evidently eroticized. The beefcake on display in the peplum is clearly not meant for a straight female audience (the films are rarely more than a series of demonstrations of violent physical strength, often haphazardly strung together), and the films were too widely...
Camera Obscura (2019) 34 (1 (100)): 99–111.
Published: 01 May 2019
... that the two parts poetically echo each other—one focuses on her writing displayed sculpturally, and the other on an interview with her mother about her grandmother’s diary—and features a projection doubled not only by side-by-side images but also by an additional intervening scrim bearing images of the diary...
Camera Obscura (2015) 30 (2 (89)): 55–87.
Published: 01 September 2015
... of masculinity. Not only does A Woman's Face anticipate displays that, as in Mildred Pierce , register challenges to normative gender and sexual identities, but it also exceeds them in range and degree. Cukor's tale of Anna Holm (Crawford), whose facial scarring codes her as a marginal figure, spawns an image...
Camera Obscura (2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
... ameliorated the excessive display of his solipsistic offscreen persona. Converting excess into a form of labor that authenticates and remasculinizes the star, these roles recast the negative divaseque attributes of the actor's offscreen star persona by constructing the actor as a passionate leader whose...
Camera Obscura (2010) 25 (1 (73)): 161–195.
Published: 01 May 2010
... of nudity, it contributes to a long-standing obsession with revealing a person's interiority through the translation of embodied signifiers. Modern technologies, and the cultures of self-display they have fostered, offer up new methods of achieving what more self-consciously empirical projects have always...
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
... display surprising common ground with radical feminist discourses and discourses on landscape that emerged in an era otherwise known for political fatigue. Anne McKnight teaches and researches about Japanese postwar literature, film, and food cultures at the University of California, Los Angeles...
Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
... on the visual display of women. In making Peck and his gray flannel suit the weak center of a postwar narrative of personal discontent and adultery, Zanuck and Johnson fundamentally destabilized gender hierarchies. They also created a formidable but equally conflicted counterpart to America's army of gray...
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
.... But if Chang's films seem rather too insistent on positioning her within the bounds of propriety, we need only look to their extreme dependence upon modes of corporeal display that push those very bounds for the reason why. More than any other performer of her time, Chang was identified with new, unfamiliar...
Camera Obscura (2014) 29 (2 (86)): 59–83.
Published: 01 September 2014
.... This article offers an alternative account of the pleasures of plastic surgery television series by paying attention to the feelings of care, shame, and intimacy that are encouraged by the display of exposed, vulnerable, and suffering bodies on the program Dr. 90210 (E!, 2004 – 8). By foregrounding...
Camera Obscura (2021) 36 (1 (106)): 87–107.
Published: 01 May 2021
... in the crypt. For a while this installation held a minor place in Varda's oeuvre, until she gave it a featured position in her autobiographical film The Beaches of Agnès ( Les plages d'Agnès , France, 2008). Filmed vignettes of rescue, projected in four loops in the great hall, allowed Varda to display her...
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Camera Obscura (1993) 11 (2 (32)): 124–160.
Published: 01 September 1993
... made by Mary Kelly’s Muse‘e Subalte‘rane‘en are displayed alongside the postcolonial artifacts re- produced by Dawn Dedeaux, archeological treasures which are more likely to be housed in the Muse‘e Subalterne. Dedeaux, a multimedia...
Camera Obscura (1990) 8 (2 (23)): 70–89.
Published: 01 May 1990
... The new cultural authority of the urban landscape was its invitation to knowledge through visual display, rapid movement and sensory involvement. Riverview’s mechanized thrill rides best exemplify how the amuse- ment park inscribed this process. The Hell Gate, the Figure...
Camera Obscura (2001) 16 (3 (48)): 113–157.
Published: 01 December 2001
...- ture, we maintain a necessary distance from the actual image, and we see a series of images displayed as we move around the house. Yet, because of our own movement, we have less the vantage point of an immobile spectator in her or his theater seat and more the mobility of the camera itself...
Camera Obscura (2007) 22 (2 (65)): 39–71.
Published: 01 September 2007
... of popular music) goes back at least fifty years, when middle-class youth as a generation emerged as an identifi- able audience segment with disposable income that producers could target. Barbara Ehrenreich, for example, traces images of the Beatles’ female fans, whose display...
Camera Obscura (1988) 6 (3 (18)): 42–51.
Published: 01 September 1988
... and, perhaps unexpectedly, as welcome observers. Perhaps this is only possible because the documentary never ventures into areas concerning private lives. What we see is already on display. This, of course, is Ottinger's theme: to show an analogy between the official arts and the routines of daily life...
Camera Obscura (1992) 10 (3 (30)): 58–75.
Published: 01 May 1992
... to secure his presence. At one point in the film’s most graphic display of violence, she “hobbles” him: breaking his ankle with a sledgehammer. What seems to precipitate her urgency is the fact that Sheldon has “killed” her heroine-Misery Chastaine-in what he claims is his last Misery novel...
Camera Obscura (1990) 8 (2 (23)): 42–69.
Published: 01 May 1990
...: the stripper, and all that term connotes of the exotic, displayed, sexual, female body. But whatever its associations with illicit sexuality, burlesque has 45 been almost thoroughly recuperated within the mainstream of Amer- ican popular culture. In the late 1970s, Sugar Babies, a Broadway...
Camera Obscura (1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
... it. This means that the choice to display an image of racial spectacle may appear to embrace the forces of hatred, abjection, and disgust that surround the image. Such a display could be read as endorsing racist activity instead of challenging it. In reinscribing the privilege...
Camera Obscura (2020) 35 (2 (104)): 1–35.
Published: 01 September 2020
... itself, or, more accurately, to cover over the lack that is constitutive of one s subjec- tive establishment, in scenarios of visual recognition. Judith Roof describes self- aware modes of somatic display such as this as vertig- inous gender formulations: genders that depend on being seen...