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dominant histories

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Journal Article
Camera Obscura (2024) 39 (1 (115)): 95–126.
Published: 01 May 2024
... 2024 by Camera Obscura 2024 queer of color trans of color dominant histories AIDS politics of representation The title of Jon Bernstein's profile on Pose (FX, 2018–2021) in The Guardian , “‘Nothing Like This Has Ever Happened’: How TV Drama Pose Breaks New Ground,” calls attention...
FIGURES
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... in a circumscribed arena in which women's film is allowed to speak about women but not about film. More specifically, The Watermelon Woman both presents and represents the negotiations, mediations, and tensions triangulated among dominant film history, white feminist film studies and production, and black film...
Journal Article
Camera Obscura (2018) 33 (2 (98)): 69–103.
Published: 01 September 2018
...Ana Stevenson The women’s suffrage subplot in Walt Disney’s Mary Poppins (dir. Robert Stevenson, US, 1964) has come to dominate the popular memory of the history of the turn-of- the- century women’s movement. This essay examines how the film’s imaginative portrayal of women’s suffrage, especially...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 177–207.
Published: 01 May 2009
..., 1966) address the black-versus-white history that dominates the race discourse of the US; instead it speaks to global colonial relations through the particulars of the Algerian uprising. While screening the primarily unseen of Muslim culture at the time to the West, Battle  presents...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... that impact. Histories of cinema generally fall within several dominant paradigms: world cinema; Hollywood or industrial cinema; and cinemas in contradistinction to the Hollywood industrial model—national art-film movements and avant-gardes resistant to the industrial paradigm and its influence. Though...
Journal Article
Camera Obscura (2019) 34 (2): 71–101.
Published: 01 September 2019
... that feature female detectives, this essay argues that Campion reworks the genre’s fascination with victimized women from her auteurist and Antipodean perspective. While the characterization and actions of the female detective resonate with other programs’ protagonists, Campion challenges dominant discourses...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
...Elizabeth Coffman; Erica Stein New Day Films was formed in 1972 as a feminist media collective to distribute films addressing gender issues. Forty years later, New Day boasts close to two hundred members and yearly distribution profits of $1 million. This article uses New Day's history...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 31–57.
Published: 01 December 2022
... politics with essentialism, nor can it find a place in the dominant historical narratives that underline the psychoanalytic and structuralist theories in the feminist filmmaking, film theory, and criticism of the decade. The film, instead, hints at the decentered, peripheral, and minor histories...
FIGURES
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 3–27.
Published: 01 September 1985
... and the patriarchal family. According to the story, the acting-out of power in the film is determined by male-dominated histories: for Petra, the constricting bonds of two unsuccessful marriages, especially the second one; for Karin, the oppressive marriage left behind in Australia...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 103–128.
Published: 01 May 1997
... chronology, represented by the Jurassic flora and fauna, recon- firms the cultural and moral dominance of the white US family in late capitalist society, a dominance further legitimized and naturalized by the objective laws of natural history and scientific proof. We can read the ways in which...
Journal Article
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
... fits into the dominant history of postwar white masculinity peopled by butchers and businessmen. Paddy Chayefsky s 1953 Marty, broadcast on The Philco Television Playhouse (NBC, 1948 55), is one such drama. While there are women in the story, namely the title character s mother and girl- friend...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 175–178.
Published: 01 December 1989
... with discourses of gender, class, race and nationhood across the social formation. The concept of “the female spectator” is not limited to psychic and textual analyses. It also informs the questions, assumptions and methodologies of film and television history. My research interests lie...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 110–127.
Published: 01 May 1981
... of dominant modes of representation (not just those concerning History but also those concerning Cinema). Despite the fact that feminist cinema dealing with History does tend to cut across and disrupt the categories “fiction” and “documentary” (e.g., With Babies and Banners), in other words, across...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 179–183.
Published: 01 December 1989
... of cultural dynamics that includes the possibility of individuals and subcultures resistant to a dominant culture. Such a model would focus on the dynamics of change and require historical analysis to chart the specific interplay of cultural forces at specific moments in history. A perusal of some...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 53–57.
Published: 01 May 2006
... by progressive histories, economics, and aesthetics — differ from dominant forms. Outside the fact that our feminist “sisters in cinema” always need our support (to better understand their work, to contribute to its circulation and archiving), our myopia has meant that we are not accurately describing...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
...-and-white prints to attack racist cultural codes perpetuated in dominant Anglo-American folk culture. Weems’s series challenges us to engage with this history. Often, in its reception, the anger that Weems’s work stirs up is redirected back at the artist. Her intention is not to implicate herself...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
... an estranging voice-over to a film we have all already seen, she renarrates the dominant history as one 118  •  Camera Obscura that the abjected people have once lived sotto voce, but no more; and she challenges her audience to identify with the enormity of the suffering she has narrated...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 144–156.
Published: 01 December 1984
... deconstructs or challenges “dominant forms of pleasure privileged by dominant texts,” but also sets up “radically ‘other’ forms of pleasure. ’’1 Description and overview are balanced with a partisan account of what feminism can provide when its perspective is brought to cinema - a set...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 235–249.
Published: 01 September 1985
... original essays (read at the Asilomar ‘ ‘Cinema Histories, Cinema Practices’’ conference in 1781), which represent new theoretical developments. It would have been useful to foreground the different registers (in relation to essentialism / anti-essentialism) of the two sets of essays...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 39–44.
Published: 01 May 2006
... and historiography. It develops a women’s history that teaches the centrality of intimate, personal, and sexual issues, as well as of the spheres of the everyday that embrace subjects with lesser cultural status. It also interrogates and reinvigorates auteurism, a dominant force within the history of film...