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Camera Obscura (2010) 25 (2 (74)): 161–171.
Published: 01 September 2010
...Michael T. Martin While slavery is distinctive in human history, its enduring legacy and practices in the modern world are manifest in the “disposable” labor that provisions the brothels, sweatshops, and agricultural plantations in the global economy. This interview with filmmaker Amy Serrano...
Camera Obscura (2020) 35 (1 (103)): 109–137.
Published: 01 May 2020
... ethical questions around white imperial violence, the disposability of brown lives, and the current political shift of and toward white women in positions of intense power. The article argues that these two technologies of domination—visual culture that entertains its citizens and political practice...
Camera Obscura (2015) 30 (1 (88)): 41–69.
Published: 01 May 2015
... focuses on questions of race and the human in relation to the history and theory of technology, media, and communication within twentieth-century US modernity. © 2015 by Camera Obscura 2015 reality television liveness biopolitics obesity disposability Figure 1. “Obesity Is Suicide...
Camera Obscura (2000) 15 (2 (44)): 177–201.
Published: 01 September 2000
... and/or disposed of extend to German culture as a whole. Fanny’s fear of dying makes sense in a world peopled by characters like Lothar Sticker, who, despite his professed vegetari- anism, his fear of meeting up in heaven with the reproachful stares...
Camera Obscura (2016) 31 (2 (92)): 119–147.
Published: 01 September 2016
... instance, Biemann theorizes how globalization renders women’s bodies as fragmented, interchange- able, and disposable (like the products they assemble in the maqui- las). “By border culture,” narrates Biemann, “we mean the robotic repetitive process of assembly work, the intimate implication...
Camera Obscura (1976) 1 (1 (1)): 71–75.
Published: 01 May 1976
... that can be synthesized into a story if one is disposed to do so. (A European woman lion-tamer comes to America and takes up choreo- graphy.) The film can also be characterized by its discursions from a strict narrative line via reflections on art, love, and catastrophe sustained...
Camera Obscura (1994) 11-12 (3-1 (33-34)): 12–41.
Published: 01 May 1994
... of the women’s movement. In retrospect, this equal right to addiction and lung disease holds little humor. At the time, however, it marked the recognition of a new market: females with considerable disposable income who maintained control over that income. With manufacturers targeting advertisements...
Camera Obscura (1992) 10 (3 (30)): 51–56.
Published: 01 May 1992
... all the fi- nesse at his disposal to lick the downward slope, he stretched for home. But, the. call was “out.” On the other hand, if they didn’t win, well, he could take it. They’d lost so many...
Camera Obscura (1977) 1 (2 (2)): 131–136.
Published: 01 September 1977
... what they want, project what they want. Her mother, who does not love her, in a typical 'projec- tion', decides that Maisie is a hypocritical child, an unloving daughter. The already cinematic dispositi/which is worked here, the problem]ames gave himself, was 'to make and keep her so limited...
Camera Obscura (1989) 7 (2-3 (20-21)): 323–327.
Published: 01 December 1989
... of their research in the future. My own interest in women as historical subjects also has its draw- backs, the most obvious being its lack of theoretical rigor-especially in comparison to the extensive theoretical arsenal at the disposal of feminists exploring the ramifications of spectator positioning...
Camera Obscura (2001) 16 (3 (48)): 1–7.
Published: 01 December 2001
... to the early years of the twentieth century. Just as at the turn of the last cen- tury, at the turn of the new millennium new forms of tabloid star- dom have produced female stars with an inherent disposability— “Survivor” stars or “Who Wants to Marry a Millionaire” stars—or new forms of cipher-like...
Camera Obscura (1983) 4 (2 (11)): 111–119.
Published: 01 September 1983
... the axisof her look projects, Cassatt refuses to situate the woman simply at the voyeuristic disposal of the spectator's gaze. On the other hand, the effect of Cassatt's sensuous coloration of the woman's skin and costume, enhanced by lively brushwork, holds the spectator's gaze...
Camera Obscura (1999) 14 (3 (42)): 124–159.
Published: 01 September 1999
... disposal-one significant way that the text links blackness, lesbianism, cannibalism, and "down-home cookin It is a striking omission, in otherwise lucid arguments, since this figuration pivotally reveals the film's own uneasiness about its handling of race and sexuality. 22...
Camera Obscura (2015) 30 (1 (88)): 1–9.
Published: 01 May 2015
... tropes, references to media industries and reflections on social dynamics, and criticism of media impositions and their own surveilling judgments regarding reality “characters.” Thus, academics too need to discuss television in complex ways, making use of the discourses at our disposal...
Camera Obscura (1988) 6 (2 (17)): 206–214.
Published: 01 May 1988
..., is not so easily disposed of. Smith was claiming it before, and it’s not clear that he can disburden himself of the claim now. According to Paul BovC in Intellectuals in Power, such laying of claims to moral legitimacy is (or has been) an inevitable part of institutional activity. I agree...
Camera Obscura (2021) 36 (2 (107)): 185–197.
Published: 01 September 2021
... with the most extreme sensations they could normally feel. The genitals-meat are disposed so that it is possible to climb on them, swing on them, ride, run and jump among them—all the time receiving an ecstatic electrical current” (193). Here we find a space for an abrasive, even harsh, multisensory...
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Camera Obscura (2000) 15 (1 (43)): 1–43.
Published: 01 May 2000
... foregrounds the presence of garbage in the apartment building. Many times in the film we watch Trelkovsky carrying trash to the garbage bin, or we repeatedly see other tenants around the garbage disposal. Similarly, the narrative emphasizes the watchful...
Camera Obscura (1979) 1-2 (3-1 (3-4)): 104–132.
Published: 01 May 1979
... up to the murder scene. After an opening shot during which Norman appears amidst the stuffed birds disposed about the room, there are four shots showing Marion, standing, in alternation with the birds: the order of these shots (bird a-Marion-bird &-Marion) denotes her feeling that she...
Camera Obscura (2012) 27 (3 (81)): 39–67.
Published: 01 December 2012
... — soulless and calculating, full of murderous and not quite healthy designs on the family unit (and speci cally on the mother). Furthermore, the evil father has at his disposal an arsenal of advanced machinery, and he plans to use it to conquer the world. The good father is powerless one- on- one...
Camera Obscura (1979) 1-2 (3-1 (3-4)): 21–31.
Published: 01 May 1979
... makes her unnecessary, and she is disposed of in her final, suicidal flight. This analysis is important in the way it demonstrates the need to take the narrative movement as a whole into consideration rather than arguing, as Johnston consistently does, for the importance...