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Camera Obscura (2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
...Huike Wen Dwelling Narrowness ( Wo ju , translated literally as “snail dwelling”) became Chinese netizens' “favorite TV drama” in 2009. In this paper, I focus on a complex of issues in contemporary Chinese society about which Dwelling Narrowness provoked extensive discussion: love, sex, and...
Camera Obscura (2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
... self-effacing, observational cinema that dwells in the time and ethos of the everyday. Examining the critical possibilities of her attention to ethics, everydayness, and female relationships is an important step in restoring the place of women's contributions and perspectives in the indie sphere...
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
..., especially films that featured the popular trope of the housewife. Both low-budget “pink films” and more lushly produced, experimental roman poruno narrative films by Nikkatsu, Japan's oldest studio, put the housewife at the center of their stories and used the housewife's dwelling in modernist architecture...
Camera Obscura (2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
... herself through the characters she develops and the milieus that dominate her cinema. While there is an absence of glamour, romance, and sentimentality, the characters also do not dwell in a state of material precarity; the insecurity they face is instead personal and social. Three tendencies distinguish...
Camera Obscura (2014) 29 (3 (87)): 184–185.
Published: 01 December 2014
...: Youth and Valeria Gai Germanika’s Films and Television. No. 85: pp. 59 – 79 Huike Wen Slaves of the House and Victims of Love: New Life and Relationship Challenges in Dwelling Narrowness. No. 86: pp. 35 – 57 doi 10.1215/02705346-2827235 ...
Camera Obscura (2011) 26 (2 (77)): 33–63.
Published: 01 September 2011
... argument by taking some sentences from Heidegger’s 1951 essay, “Building Dwelling Think- ing,” starting with his introductory, “we attain to dwelling, so it seems, only by means of building.”12 Is this not what the story of the Three Little Pigs shows us — that life and home, dwelling...
Camera Obscura (1979) 1-2 (3-1 (3-4)): 211–215.
Published: 01 May 1979
... arms after her long speech. But this moment is short; is not dwelled upon. The spectator is not allowed to reassure her/himself by a sustained image of a fulfilled and fulfilling instance of human contact. It is this non-compliance with the desire of the spectator...
Camera Obscura (1989) 7 (2-3 (20-21)): 103–107.
Published: 01 December 1989
... out of history. Between 1906 and 1930, Elvira Notari made 60 feature 106 films and over 100 documentaries for her own production house, which was called Dora Film. Noir-like melodramas, shot on location in the streets and squalid dwellings of the city of Naples, Notari’s films...
Camera Obscura (2007) 22 (1 (64)): 181–185.
Published: 01 May 2007
... urgency feminists feel in our intellectual work, and the tension between ephemeral and material histories embodied in a space like that of the archive, or of the academic journal itself. This particular archival project, in the space of the pages of Camera Obscura, allows for both the dwelling of...
Camera Obscura (2016) 31 (1 (91)): 187–201.
Published: 01 May 2016
..., Palestine, 47–48 (2012) and I Also Dwell among Your Own People: Conversations with Azmi Bishara (2004). © 2016 by Camera Obscura 2016 collaboration photography archive history Susan Meiselas Wendy Ewald Figure 1. Ariella Azoulay, Wendy Ewald, and Susan Meiselas, in association with...
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
... frights they occasion oblige the protagonists to con- front the return of the repressed violence and suffering on which their private dwellings are built, and cast white property ownership as a state of moral debt to those who have been robbed of their lives and livelihoods. The white affluent...
Camera Obscura (1996) 13 (1 (37)): 69–91.
Published: 01 January 1996
... the same time, however, Helen can only establish this difference by using her own dwelling as a map to read the other space. Her major discovery in researching the history of Cabrini-Green is that her own building was originally intended as public housing, but was...
Camera Obscura (2021) 36 (1 (106)): 9–39.
Published: 01 May 2021
... calls “the tranquility of inhabiting” (151). He describes the myth of Aphrodite's emergence from her shell as the opposite of the Medusa myth: whereas Medusa petrifies her victims with fear, turning flesh into stone, shellfish exude stone-like dwellings from their soft bodies (128). The birth of a...
Camera Obscura (1984) 4 (3 (12)): 110–125.
Published: 01 December 1984
..., or that the “flesh” he attempts to describe in the feline prose of The Visible andtbe Invzszble, the silent spoken word dwelling in the chiasma of the perceptible, has anything to do with the rears and bosoms of Greuze that Diderot hallucinated while writing. Merleau-Ponty implies as much...
Camera Obscura (2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... an inaugural loss of all her hopes and fantasies, and on some level she recognizes that she is, or has become, a creature of thwarted desires. This is obviously a hard space in which to dwell. Hannah’s compensation is jouissance. Though jouissance is a complex concept in...
Camera Obscura (2016) 31 (1 (91)): 165–173.
Published: 01 May 2016
.... Henry Selick, US, 1993) and its progeny. Stop-motion is almost always set in a world apart. “The monster,” Jeffrey Jerome Cohen writes in one of his the- ses on monster culture, “dwells at the gates of difference.”10 Thesis 4: Lift Animation’s stop-motion creations stare back at us from...
Camera Obscura (2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
... lms invite us to dwell in both the incommensurability of indi- vidual experiences and in the multiplicity of shared perspectives. From here, we can begin to recognize ourselves as an integral force in the creation of a more capacious independent lm culture. Notes . Ava DuVernay...
Camera Obscura (1986) 5 (3 (15)): 110–136.
Published: 01 December 1986
... or in- directly. Five other chapters (3, 5, 6, 9, 10) show us Edison alone, meditating. Each of the two series is obviously strengthened by this overlapping. But the second, which has no follow-up, also forms a sort of prologue to the whole of the novel and is worth dwelling upon...
Camera Obscura (1986) 5 (3 (15)): 86–109.
Published: 01 December 1986
..., but the signatory crime of cruel cinema is cannibalism. The taint of cannibalism is subliminal in Psycho. Hitchcock dwells predominantly on the devouring of psychic identity-a theme privileged in the weird genre. Norman and his mummified Mum dine upon each other’s...
Camera Obscura (2008) 23 (3 (69)): 111–135.
Published: 01 December 2008
... castration. The Dude’s fetish is located in another register. Over and over again, he and his friends dwell on the rug urinated on by the thugs sent to collect a debt that is not his: “The rug really tied the room together, man” is his own succinct formulation. In strictly narrative terms, the...