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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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 beyond its...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
... 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 when one...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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 of Raoul...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2005) 20 (2 (59)): 196–197.
Published: 01 September 2005
... 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 a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2005) 20 (2 (59)): 198–199.
Published: 01 September 2005
... 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 a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2005) 20 (3 (60)): 234–235.
Published: 01 December 2005
... 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 a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2005) 20 (3 (60)): 236–237.
Published: 01 December 2005
... 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 a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 141–143.
Published: 01 May 1992
.... 29; pp. 91-129. DiPiero, Thomas White Men Aren’t. No. 30; pp. 113-137 Egger, Rebecca Deaf Ears and Dark Continents: Dorothy Richardson’s Cinematic Episte- mology. No. 30; pp. 5-33 Feldman, Jamie Gallo, Montagnier, and the Debate Over HIV: A Narrative Analysis. No. 28...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 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 argued...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1990) 8 (1 (22)): 8–27.
Published: 01 January 1990
... 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. Such a divide not...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 39–44.
Published: 01 May 2006
... 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. Although such...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 76–91.
Published: 01 May 1992
... scenes that I will take as metonymic of the kind of exchange that the text initiates 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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 it is...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2002) 17 (1 (49)): 189–215.
Published: 01 May 2002
... before Bill strayed to Melissa, 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 204–209.
Published: 01 December 1989
... criticism to be especially provocative in the classroom. Teaching students how to read texts 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 21–31.
Published: 01 May 1979
...- ston suggests looking first at “films made by women within the Holly- wood system which attempted by formal means to bring about a dislocation between sexist ideology and the text of the film” (p. 29). Dorothy Arzner and Ida Lupino’s films are proposed as progressive...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 159–191.
Published: 01 December 2008
... 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 is romantically...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1990) 8 (1 (22)): 138–149.
Published: 01 January 1990
... Gilligan, Dorothy Dinnerstein, and Nancy Chodorow in order to show how a feminine perspective on authority would exhibit caring, compassion, and an emotional response attentive to social relationships and the ambiguity of actions. For Jones, as for Diamond and Quinby, politics and developmental...