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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...
Camera Obscura (1992) 10 (3 (30)): 76–91.
Published: 01 May 1992
... the capacity of a Blue Stocking, or perhaps a Plain Jane. 2. You Freud? Q: What is it that the patient most desires? A: The analyst’s ear. 3. You Freud, Me Jane? In the Hitchcock film Mamie the heroine, a compulsive thief, is caught in the act by a man who saves her from the law by...
Camera Obscura (1992) 10 (3 (30)): 141–143.
Published: 01 May 1992
... I. No. 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...
Camera Obscura (2008) 23 (1 (67)): 151–159.
Published: 01 May 2008
... her band “The Afro Sisters” in the special “Best of” issue of Interview magazine in 1986 — “the last ish of the magazine that Andy would personally supervise.” The text ends at the art opening, where Davis was praised by Warhol for her homemade Polaroid earrings “with images of two humpy five...
Camera Obscura (1977) 1 (2 (2)): 105–114.
Published: 01 September 1977
... what's wrong. After the shot of the young worker and the young woman at the breakfast table, Odette explains the photograph and relates it to a sim- ilar photograph taken in France four years ear- lier. This section, which includes one of the most elaborate montages...
Camera Obscura (1985) 5 (1-2 (13-14)): 104–111.
Published: 01 September 1985
... thatched roof which projects well beyond the front wall of his newly built house, a Peace-Corps Volunteer nods at several villagers who stop by to chat with him. While they stoop down beside him and start talking, he smiles blankly, a pair of headphones over his ears and a...
Camera Obscura (2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
... when one realizes that Frank may have cut off the ear of Doro- Camera Obscura 69, Volume 23, Number 3 doi 10.1215/02705346-2008-010 © 2008 by Camera Obscura Published by Duke University Press 137 138 • Camera Obscura thy’s husband with the very same instrument. In effect the scissors...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 216–222.
Published: 01 December 1982
... least, in the position of the spectator: facing the image, watching it, listening to the sound, whispering in our ear. Like us, he is so placed as to be able to observe, to reflect, to comment. His example encourages us to resist projecting ourselves into the world pictured, to...
Camera Obscura (2007) 22 (2 (65)): 1–9.
Published: 01 September 2007
... stem the explosion of instant divas, a new concept arose: the “diva-in-training.” The diva-in-training is someone with dynamic talent and mercurial temperament who is at an early stage in her (or his) career, and who may — or may not — engage the public’s fascinated eyes and ears over the long...
Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... landscape, she proceeds to pick up a few ears of wheat, gathering them in a large apron. She does so for the camera slowly and with a strange mix of ease and hesitation — her gleaning is a performance of gleaning for Varda’s camera and on Varda’s behalf. But her performance is doing some...
Camera Obscura (1988) 6 (2 (17)): 169–193.
Published: 01 May 1988
... for the bike and the library’s absurd demand that Pee-wee pay them “all the money in two galaxies,” thereby creating unity and closure within the work. Henry does not. Problems are not so much resolved as forgotten. Yet, what may sound to adult ears like digressions are...
Camera Obscura (2016) 31 (2 (92)): 93–117.
Published: 01 September 2016
... and listeners, mouths and ears, words and meaning. The retardations and accelerations, emphases, accentua- tions, or pauses of hesitant readers punctuate the text with a mur- muring that discloses an array of listening possibilities. The verbal performances in this cinema demonstrate the...
Camera Obscura (2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
... “transforms cinematic expression into a religious experi- ence for this age of increasing faithlessness and fragmentation.”2 At that time, Sarris had already thrown Lola Montès over for The Earrings of Madame de . . . (dir. Max Ophüls, France, 1953), which was his new choice for number one.3 In...
Camera Obscura (2021) 36 (1 (106)): 61–85.
Published: 01 May 2021
...-Jacques Sempé, the accompanying high-angle shot of Varda at a street protest discovers her with a placard that reads “J'AI MAL PARTOUT” (I HURT EVERYWHERE). To global sorrows, and even the whispers of the elements themselves, Varda's ears attend. An image of Varda on a beach reveals this consciousness...
Camera Obscura (1984) 4 (3 (12)): 89–106.
Published: 01 December 1984
... are respected together.” This distinction allows us to see the figural as a trace within the secondary processes (within representation) of the activities of the primary processes. The eye and the ear are organs of desire, as they are in Freud and Lacan; Lyotard’s libidinal economy...
Camera Obscura (1992) 10 (1 (28)): 238–261.
Published: 01 January 1992
... historian, populated his art-historical studies with figures of body parts: ears, feet, fingers, nails. Morelli wrote art history by detecting in painting the representational codes of the body, and “dissecting” it. Through these visual bodily signs, he explored, “analyzed...
Camera Obscura (2012) 27 (2 (80)): 145–153.
Published: 01 September 2012
... the Elder,” who actually noted that they hide their heads in bushes, because they’re searching for berries. In other words, such avoidance isn’t just about fear. There can be material rewards for purposely closing our eyes and ears. We deserve to know what berries were involved in this...
Camera Obscura (2012) 27 (3 (81)): 169–179.
Published: 01 December 2012
...: There were a few lms too — nearly two hundred of them — a good many of them were dotty- blotty poltergeist lms, scratching and screaming rapes of the eye and ear, some gone before you could sneeze, others lingering on for hours. A handful were exciting, adventurous works which justi es...
Camera Obscura (2002) 17 (1 (49)): 31–71.
Published: 01 May 2002
... model for thinking about the birth of sound as a union of disparate ele- ments—a challenge for the ear and eye at a moment when the terms of cinematic signiﬁcation were themselves changing. The photo of Spivey and Haynes that opens this article depicts a curiosity that audiences might...