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dorothy

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Journal Article
Camera Obscura (1992) 10 (3 (30)): 4–33.
Published: 01 May 1992
...Rebecca Egger Copyright © 1992 by Indiana University Press 1992 Illustration from John Scotland, The Talkies (London: Crosby Lockwood and Son, 1931). Deaf Ears and Dark Continents: Dorothy Richardson’s Cinematic Epistemology Rebecca Egger As feminist film theory moves...
Journal Article
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
..., and internal memos) of women story editors such as Dorothy Hechtlinger, Alice Young, Jacqueline Babbin, and Janet Wood in conjunction with the historical work of David Waterman and Erin Hill, as well as the theoretical model Michel Foucault posits in his essay on the criminal notices of obscure “infamous men...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
..., during the scene in which Frank sexually assaults Dorothy Vallens (Isabella Rossellini), he makes an awful sound by rapidly opening and closing a pair of scissors. While the scissors themselves may not be the most menacing object, the meaning of the gesture and of the sound becomes apparent...
Journal Article
Camera Obscura (1992) 10 (3 (30)): 76–91.
Published: 01 May 1992
... with the interpreting subject. These are 80 the lipstick scene between Frank the psychotic and Jeffrey the would-be detective, and the S and M gagging scene featuring Dorothy and Frank. The characters, however, should not be seen as standing in place of text and analyst; there is no one-to-one...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 8–27.
Published: 01 January 1990
... of theoretical speculation (the realm of interpretation). There are, of course, obvious and immediate problems with situating such an impassable (and impossible) divide between historians and Dorothy Arzner 10 feminists, history and theory, empirical research and theoretical anal- ysis...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 143.
Published: 01 May 1976
... © 1976 by Camera Obscura 1976 References 143 Cook, Pam. "Approaching the Work of Dorothy Arzner". The Work of DorothyArzner. Clairejohnston, ed. London, 1975. and Claire]ohnston. "The Place of Women in the Cinema...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 189–215.
Published: 01 May 2002
..., neither he nor Jo had the follow-through to build or feather a nest. The premature denouement to their love affair is encapsulated—with a crushing literalism—by a silver vat with sirens and colored lights named “Dorothy” that Bill designed but never built. When Bill first appears in the film, he...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 159–191.
Published: 01 December 2008
... of the most memorable sequences in Howard Hawks’s Gentle- men Prefer Blondes (US, 1953) is the musical number “Ain’t There Anyone Here for Love?” Dorothy Shaw (Jane Russell) is accom- panying her friend Lorelei Lee (Marilyn Monroe) to Paris on a cruise across the Atlantic. While Lorelei...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 39–44.
Published: 01 May 2006
... America. The Wild Party (dir. Dorothy Arzner, US, 1929) A R C H I V E F O R T H E F U T U R E The Future of Feminism and Film History Lauren Rabinovitz It is now the fashion to pronounce film history, rather than film theory, as that which counts most...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 234–235.
Published: 01 December 2005
... For example, the archive might contain statements regarding the following: • Anthology Film Archives Maya Deren screening room • Specific films: for example, Dorothy Arzner’sMerrily We Go to Hell, Maria Luisa Bemberg’s I, the Worst of All, and Marziyeh Meshkini’s The Day I Became...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 236–237.
Published: 01 December 2005
... For example, the archive might contain statements regarding the following: • Anthology Film Archives Maya Deren screening room • Specific films: for example, Dorothy Arzner’sMerrily We Go to Hell, Maria Luisa Bemberg’s I, the Worst of All, and Marziyeh Meshkini’s The Day I Became...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 196–197.
Published: 01 September 2005
... For example, the archive might contain statements regarding the following: • Anthology Film Archives Maya Deren screening room • Specifi c fi lms: for example, Dorothy Arzner’s Merrily We Go to Hell, Maria Luisa Bemberg’s I, the Worst of All, and Marziyeh Meshkini’s The Day I Became...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 198–199.
Published: 01 September 2005
... For example, the archive might contain statements regarding the following: • Anthology Film Archives Maya Deren screening room • Specifi c fi lms: for example, Dorothy Arzner’s Merrily We Go to Hell, Maria Luisa Bemberg’s I, the Worst of All, and Marziyeh Meshkini’s The Day I Became...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 4–7.
Published: 01 January 1990
...Lea Jacobs; Patrice Petro Copyright © 1990 by The Johns Hopkins University Press 1990 Editorial In her important and oft-cited introduction to The Work of Dorothy Arzner, Claire Johnston asked: “DO feminist critics simply want to introduce women into film history?” Johnston...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 21–31.
Published: 01 May 1979
... ideology and the text of the film” (p. 29). Dorothy Arzner and Ida Lupino’s films are proposed as progressive, and Nelly Kaplan’s films are taken as examples of entertainment films made outside Hollywood which show the “working through of the woman’s desire.” The notion...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 336–372.
Published: 01 December 1989
.... -. “A (Sad) Song of the Body.” Screen 28, no. 1 (1987): 78-89. -. “ ‘Should a Feminist Knit?’ Narcissistic Narrative and the Other Woman.” Flesh, Intervention 21/22 (1988): 48-53. Cook, Pam. “Approaching the Work of Dorothy Arzner.” The Work of 341 Dorothy Arzner...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 194–199.
Published: 01 May 2008
...” defies the black-and-white/no-gray world of Pylea.3 Growing up there, he thought he was crazy because he could hear music and thought it was “ghosts” in his head. Even so, he felt that the sound of music was “beautiful, painful, and right.”4 Maybe it is not me who is Dorothy, maybe...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 90–129.
Published: 01 January 1990
... modish and opulent outfits- all silk frills and boas and fur. An ad for The Adventures of Dorothy Dare promoted the display of fashions on equal footing with narrative action, describing the series as “a motion picture of thrills and ex- citement centered around...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 204–209.
Published: 01 December 1989
... symptomatically provokes vital discussion about the relation of texts and culture, narratives and sexual difference. Analyzing media forms through critical perspectives offered by feminist work on Dorothy Arzner, film noir and melodrama offers a revelatory experience for students who characteristically...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 162.
Published: 01 September 1993
... University Press, 1995. $24.95. Directed by Dorothy Arzner by Judith Mayne. Indiana University Press, 1995. $15.95. Melodrama: Stage, Picture, Screen edited by Jacky Bratton, Jim Cook, and Christine Gledhill. Indiana University Press, 1994. $23.95. Script Girls...