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Journal Article

Eisenstein: Notes Towards a Biography

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Jacques Aumont, Andrew Ross
Camera Obscura (1985) 5 (1-2 (13-14)): 50–83.
DOI: https://doi.org/10.1215/02705346-5-1-2_13-14-50
Published: 01 September 1985
...Jacques Aumont; Andrew Ross Copyright © 1985 by Camera Obscura 1985 Eisenstein’s sketch “My Position at Work” Eisenstein: Notes Towards a Biography Jacques Aumont Introduction This essay about Eisenstein’s memoirs forms the first chapter of Montage Ezsenstein (forthcoming...
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Journal Article

Soviet Film Montage and the Woman Question

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Judith Mayne
Camera Obscura (1989) 7 (1 (19)): 24–53.
DOI: https://doi.org/10.1215/02705346-7-1_19-24
Published: 01 January 1989
...Judith Mayne Copyright © 1989 by The Johns Hopkins University Press 1989 Potemkin (Sergei Eisenstein, 1925) Soviet Film Montage and the Woman Question Judith Mayne Virtually all critics of Soviet film of the 1920s would agree that the development of the cinema needs...
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Journal Article

Godard's Use of Sound

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Alan Williams
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 192–209.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-192
Published: 01 December 1982
... shifted it slightly in register. 111. Bazin. . .Eisenstein or Vertov. . .“Permutational Formalism” That there is a Razinian inspiration in Godard’s image and sound recording practices seems indisputable, both on biographical and on 202 cinematographic/aesthetic grounds. But the contemporary...
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Journal Article

Contributors

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Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 238–239.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-238
Published: 01 December 1982
... of Cahievs du Cinima and has taught film in Berkeley and Iowa City. He is the author of Montage Eisenstein (Paris: Editions Albatros, 1979) and is responsible for the French edition of S.M. Eisenstein’s works. He is also the co-editor and co-author of Thiorie du Film (Paris...
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Journal Article

Contributors

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Camera Obscura (1985) 5 (1-2 (13-14)): 250–251.
DOI: https://doi.org/10.1215/02705346-5-1-2_13-14-250
Published: 01 September 1985
... Eisenstein (translation forthcoming in 1986 from Indiana University Press) and is responsible for the French edition of S.M. Eisenstein’s work. He is also the co-editor and co-author of Thbone du film (Paris: Klincksieck, 1973) and Mmuel d’ksthethique du cintma (forthcoming). Anne-Marie Duguet...
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Journal Article

Shampoo: Editing, Advertising, and Codes of Modesty on Saudi Arabian Television

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Noor Al-Qasimi
Camera Obscura (2011) 26 (2 (77)): 91–121.
DOI: https://doi.org/10.1215/02705346-1301548
Published: 01 September 2011
... of allowable elements. To explain this point further, I turn to one of the first theorists of film editing and the film image, Sergei Mikhailovich Eisenstein. In his controversial formula, Eisenstein defines mon- tage, or what he terms the “ ‘dramatic’ principle,” as “an idea...
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Journal Article

Le Défilement: A View in Close Up

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Thierry Kuntzel, Bertrand Augst
Camera Obscura (1977) 1 (2 (2)): 50–66.
DOI: https://doi.org/10.1215/02705346-1-2_2-50
Published: 01 September 1977
... of opaqueness of the unprofessional actor's face and body in the silent films' 'typage', or the parodic over-expres- siveness of the professional actor in Eisenstein's sound films, all derive from analogy. In (and against) this analogy we also find the formlessness and non-sense which, according to Sylvie...
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Journal Article

Beyond the Gaze: Visual Fascination and the Feminine Image in Silent Hitchcock

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Jessica Brent
Camera Obscura (2004) 19 (1 (55)): 77–111.
DOI: https://doi.org/10.1215/02705346-19-1_55-77
Published: 01 May 2004
... Eisenstein stills, Barthes discovers details that signify beyond the filmic text: Is that all? No, for I am still held by the image. I read, I receive . . . a third meaning—evident, erratic, obstinate. I do not know what its signified is, at least I am unable to give it a name, but I can see clearly...
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Journal Article

“Desire Shifts the Differance”: Figural Poetics and Figural Politics in the Film Theory of Marie-Claire Ropars

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Dana Polan
Camera Obscura (1984) 4 (3 (12)): 66–85.
DOI: https://doi.org/10.1215/02705346-4-3_12-66
Published: 01 December 1984
.... In all this, Ropars’s work stands as a quite particular intervention into the critical field, but also as a significant point of intersection for many of the critical issues that face film theorists today. October (Sergei Eisenstein, 1927) 68 In this respect, Ropars’s development...
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Journal Article

Books Received

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Camera Obscura (1988) 6 (3 (18)): 156.
DOI: https://doi.org/10.1215/02705346-6-3_18-156
Published: 01 September 1988
... the Subject by Paul Smith. University of Minnesota Press, 1988. $13.95. Nonindifferent Nature by Sergei Eisenstein, trans. Herbert Marshall. Cam• bridge University Press, 1988. $37.50. Marilyn Monroe by Graham McCann. Rutgers University Press, 1988. SilentMagic...
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Journal Article

Books Received

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Camera Obscura (1992) 10 (3 (30)): 139–140.
DOI: https://doi.org/10.1215/02705346-10-3_30-139
Published: 01 May 1992
... Press, 1993. Eisenstein Rediscovered edited by Ian Christie and Richard Taylor. Routledge, 1993. The Hidden Cinema: British Film Censorship in Action, 191 3-1 975 by James C. Robertson. Routledge, 1993. $18.95. Reflecting Black: African-American Cultural Criticism by Michael Eric Dyson...
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Journal Article

Books Received

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Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 240–241.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-240
Published: 01 December 1982
... of Illinois Press. Urbana, 1981. Eisenstein’s Ivan the Terrible: A Neoformalist Analysis by Kristin Thomp- son. Princeton University Press. Princeton, 198 I. The Rhetoric of Filmic Narration by Nick Rrowne. UMI Research Press. Ann Arbor, 1981. The Imaginary Signifier...
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Journal Article

Index to Camera Obscura/13–14, 15 (volume 5)

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Camera Obscura (1986) 5 (3 (15)): 180–181.
DOI: https://doi.org/10.1215/02705346-5-3_15-180
Published: 01 December 1986
... © 1986 by Camera Obscura 1986 180 Index to Camera Obscura/I3-14, 15 (volume 5) Aumont, Jacques Eisenstein: Notes Towards a Biography. No.13-14; pp. 51-82. Beauviala, Jean-Pierre and Jean-Luc Godard Genesis of a Camera (First Episode). No.13...
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Journal Article

Books Received

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Camera Obscura (1997) 14 (1-2 (40-41)): 277–278.
DOI: https://doi.org/10.1215/02705346-14-1-2_40-41-277
Published: 01 May 1997
... Smith. Routledge, 1998. Mad to Be Saved: The Beats, the SOs, and Film by David Sterrit. Southern Illinois UP, 1998. Working Girls: Gender and Sexuality in Popular Cinema by Yvonne Tasker. Routledge, 1998. The Eisenstein Reader edited by Richard...
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Journal Article

Marie-Claire Ropars-Wuilleumier: A Bibliography

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Dana Polan
Camera Obscura (1984) 4 (3 (12)): 86–88.
DOI: https://doi.org/10.1215/02705346-4-3_12-86
Published: 01 December 1984
.... ‘‘Fonction de la metaphore dans Octobre d’Eisenstein Litteratwe, no. 11 (October 1973), pp. 109-128. Translated by Sister Mary Christopher Baseheart as ‘‘The Function of Metaphor in Eisenstein’s October, ’ ’ FiZm Cn2icZs.m 2, no. 2-3 (Winter-Spring 1978), pp. 10-34. “Lire l’ecriture...
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Journal Article

This is Not a Textual Analysis (Godard's La Chinoise )

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Jacques Aumont, Jill Forbes
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 131–160.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-131
Published: 01 December 1982
... are not primarily based on the filmic scene, bring to mind the analogous procedures, developed by Eisenstein, of the frugrnent and the global representation which he used to place one thing in relation to another.20I mentioned both Grifith and Eisenstein here not so much in order...
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Journal Article

The Front Lawn of Heaven: Landscape in Hollywood Melodrama circa 1945

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Jennifer Peterson
Camera Obscura (2010) 25 (2 (74)): 119–159.
DOI: https://doi.org/10.1215/02705346-2010-004
Published: 01 September 2010
... a film’s tone or mood, of speaking the unspeakable. Sergei Eisenstein, who was one of the first to theorize film sound, argued that landscape can function like music in cinema. In his long essay “The Music of Landscape and the Fate of Montage Counterpoint at a New Stage” (written...
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Journal Article

Pleasure Aesthetics: On the Art of Mika Rottenberg

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Shannan Hayes
Camera Obscura (2024) 39 (2 (116)): 71–102.
DOI: https://doi.org/10.1215/02705346-11207815
Published: 01 September 2024
... artographies of the Absolute (Winchester, UK: Zero Books, 2015), and Todd Cronan, Red Aesthetics: Rodchenko, Brecht, Eisenstein (Lanham, MD: Rowman and Littlefield, 2022). 12. See Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), 51...
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The Terror That Makes One Whatever One Is: Sterling Hayden's Emotional Testimonies

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Matt Tierney
Camera Obscura (2015) 30 (2 (89)): 157–187.
DOI: https://doi.org/10.1215/02705346-3078358
Published: 01 September 2015
... stable boundary that separates literature from film. Langer herself extends this theory to film, taking a cue from Sergei Eisenstein to argue that the primary function of cin- ema is “direct apparition”: the tautological operation by which any film can show what only a film can show.26...
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Journal Article

Godard: Images, Sounds, Politics

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Jacques Aumont, D.N. Rodowick
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 210–215.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-210
Published: 01 December 1982
... theory (not to mention MacCabe’s remarks on Eisenstein, which serve only to record his endorsement of Godard’s point of view without bothering to take a closer look at the issues for himself). Perhaps I have criticized this book too much, whereas in fact, I...
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