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dolly

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 71–103.
Published: 01 May 2006
... history of the wanted poster. Figure 1. Louis Manigault, runaway notice for Dolly, 1863. Southern Historical Collection, Library of the University of North Carolina at Chapel Hill Missing Dolly, Mourning Slavery: The Slave Notice as Keepsake Rachel Hall On the evening of 7 April 1863...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2007) 22 (3 (66)): 185–191.
Published: 01 December 2007
..., Film and the Imperial Gaze (1997), Playing Dolly: Technocultural Formations, Fantasies and Fictions of Assisted Reproduction (1998, coedited with Susan Squier), Feminism and Film (2000), Trauma and Cinema: Cross-Cultural Explorations (2004, coedited with Ban Wang), and Trauma Culture: The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 160–164.
Published: 01 May 2008
...”? Whatever happened to those? Do you still have pot parties with Lily and Dolly? I hope so. If Gloria Beatty, Bree Daniels, and Sally Hyde came into my life somewhat later, their effect on my adolescence was no less significant. For a gay teen, these powerful women were more...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2004) 19 (1 (55)): 43–75.
Published: 01 May 2004
... the house, once again, as the prize in all its splendor. The voice-over 62 • Camera Obscura conversation about who will, finally, inherit Howards End both confirms this valued rendering of the property, even while it announces who the new owner will be. While Henry is explaining to Dolly...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2007) 22 (2 (65)): 39–71.
Published: 01 September 2007
...: The Wicked Diva as Character and Actor The diva character is a mainstay of musical theater. From Mama Rose (Gypsy) to Dolly Levi (Hello, Dolly from Fanny Brice (Funny Girl) to Sally Bowles (Cabaret), the strong, unique woman with a powerful voice appears regularly on the Broadway stage. Mark...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
... introduced through a series of camera movements: the first is a smooth pan that shifts into a dolly 108  •  Camera Obscura shot, moving from a close-­up of Scottie (who looks off to his right), but it suddenly becomes a free indirect subjective point-­of-­view shot that slowly moves...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 125–143.
Published: 01 September 1991
... females; and he can have fun singing “Hey Good Lookin’ ” with Dolly Parton in her visit to Pee-wee’s Playhouse on an episode of her own variety series (that is, until he suspects her of getting romantic with him) And then there’s Miss Yvonne, the character who has been...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 146–165.
Published: 01 May 1994
..., in the eighties, for informa- tion about her mother serves both to motivate and to organize these episodes’ narrative movements. K.C. (Marg Helgenberger), an Amer- ican woman and former Red Cross “donut dolly,” was China Beach’s on-site sex worker and aspiring capitalist entrepreneur. In...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2003) 18 (1 (52)): 129–155.
Published: 01 May 2003
...- formance of the child pounding the band drum. The Priest is the only one laughing. But the most horrific footage has yet to occur. To the sound of belabored breathing and the ambient track of something high- pitched like birds or crickets, we dolly down an outside corridor where doctors and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 161–179.
Published: 01 May 1997
... redemption. Certain current threatening forms of scientific discovery seem to be ideally suited to technostalgic treat- ment. The “birth” of Dolly, the cloned sheep, has no doubt inspired a number of tech-nightmares, such as Gattaca (1998),that will reach the big and small screen shortly. Cloning...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2003) 18 (1 (52)): 35–83.
Published: 01 May 2003
... shouting aggressively at the camera. Meanwhile, her relentless dolly shot presses on, unperturbed, its unceasing lateral movement propelled as if by an unknown force. The film has its own way of looking, not only in terms of aesthetics, the way it looks as a film, but in respect to the active...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1995) 12 (2 (35)): 158–184.
Published: 01 May 1995
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1995) 12 (2 (35)): 52–84.
Published: 01 May 1995
...-those somatic deviances are of abundance rather than scarcity: think of Dolly Parton, Divine, Mae West, as opposed to the thin, youthful, more "cultish" Edie Sedgwick. Camp entails an excess of consumption, a wasted production that is literalized by/on female bodies. It...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
..., Angela (Christian Serratos), and Jessica Stanley (Anna Kendrick), the lm cuts to a shot of the cafeteria’s window, partly covered by a blind on the right of the frame ( g. We then see Pattinson entering the frame from the right. The camera dollies left to follow him across the frame to the left...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 29–61.
Published: 01 September 2017
... — no corporate funding, no venture capi- tal, despite many such offers — so as to preserve the integrity of its mission.”14 The site also describes Blue Blood and its “offshoots” (including Gothic Sluts and Rubber Dollies) as “a tight-­knit com- munity committed to self-­discovery, self...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2000) 15 (1 (43)): 123–161.
Published: 01 May 2000