1-20 of 142 Search Results for

enunciation

Sort by
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 20–31.
Published: 01 December 1982
...Janet Bergstrom Copyright © 1982 by Camera Obscura 1982 Violence and Enunciation Janet Bergstrorn I was struck by the violence of the film, Sauve quipeut (la vie), how it repeatedly stages the impossibility of living sexual difference as any- thing but an absolute dichotomy...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 88–109.
Published: 01 May 1981
...Lea Jacobs © 1981 by Camera Obscura 1981 Now Voyager: Some Problems of Enunciation and Sexual Difference Lea Jacobs The representation of sexual difference in the Hollywood cinema has been described as a double movement in which woman functions as a term of difference...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 32–69.
Published: 01 May 1979
...Janet Bergstrom Hitchcock’s sketches for The Birds (courtesy Cahiers du Cinh) Enunciation and Sexual Difference (Part Janet Bergstrorn I. Introduction There is a great deal of confusion at the moment about the aims, methods, scope and general importance of a particular kind of film...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 67–92.
Published: 01 September 1977
...Raymond Bellour; Bertrand Augst; Hilary Radner © 1977 by Camera Obscura 1977 Hitchcock, The Enunciator Raymond Bel/our o. The credits have barely starred; a body is seized. Twice a name is claimed: the film's title by its director, and a woman's name by a man. Admittedly...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... maintain that the archives of the digital age can help us imagine an unruly, incoherent legacy, one in which the women of modernist cinema tear to pieces the enunciation that had initially decided their destiny (Bonvicini) and in which the gleaner's camera reconfigures the path marking the anticipation...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 93–104.
Published: 01 September 1977
... that the film-strip begins to file past the projector's gate, someone intervenes in the filmic operation in order to inscribe in it the position of an enunciator. The merit of Kuntzel's article is to combine a precise and detailed anal- ysis of a film-text, 'a view in close-up and the broad theoretical...
Journal Article
Camera Obscura (1993) 11 (1 (31)): 71–95.
Published: 01 May 1993
... is that it forged a link between the material conditions of the cinema and the specific way films enun- 75 ciated their messages, thereby reformulating materialism as a perspec- tive grounded in the broadly textual articulation of cultural experience. Because enunciation, due in part to the linguistic...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 70–103.
Published: 01 May 1979
... a series of concentric rings and waves. Fictional Representation, the Woman’s Symbolic Position, Enunciation JB: Already in the collective book Le Western (1966), while other contributors chose elements like “Indian attack,” ‘Sheriffs office,” ‘‘fistfight,” “gambler,” or “ranch” to discuss...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 54–89.
Published: 01 December 1980
...D.N. Rodowick © 1980 by Camera Obscura 1980 Vision, Desire, and the Fib-Text D. N,Rodowick The task confronting this analysis is to try to define more precisely the relationship between the enunciation of desire and its representations in the fiction film...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 163–191.
Published: 01 May 2000
..., the question is: What does it say? In my reading of Bayzai’s Maybe . . . Some Other Time (1987),4 I will attempt to move the domain of Iranian film analy- sis away from a typical reading of the narrative plot and toward a reading of filmic enunciative...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 155–160.
Published: 01 December 1989
... semiotics and literary critical tools to provide feminist readings of films. But once the concept of enunciation became central to my re- search, the notion of spectatorship became the very pivot of the the- oretical model; in fact, I see this as reflective of the general movement...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 88–97.
Published: 01 September 1990
... that perspective is not an e‘nonce‘ but an e‘nonci- ation and that what its e‘nonce‘ refers to is that very act of enunciation: costruzione legittima proposes in its very arrangement a formal apparatus that, between point of view, vanishing point, and “distance point,” and organized...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 105–139.
Published: 01 September 2004
... perception and enunciation that complicates distinctions not only between subject and object but also between enunciator and énoncé, and ultimately between author and character. He describes this discursive structure as it mani- fests itself in films by Michelangelo Antonioni, Bernardo Berto- lucci...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
... and overlook her unique auteurism, which centers female enunciation, becoming, and belonging. Throughout Fit , the protagonist Lizzie (Lizzie Curry Martinez) conducts a series of quasi-scientific inquiries, examining the way things fit in, with, and around her body, often through imaginative psychological...
FIGURES | View All (4)
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 216–222.
Published: 01 December 1982
... within the fictional world of the film. In this context, his analyses of Godard’s relation to the spectator and the film’s enunciative strategies as a whole are provocative, although there is perhaps too much of a tendency to locate an origin of enunciation...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 116–118.
Published: 01 September 1980
..., the Enunciator. Vol. I, no. 2; pp. 66-91. Psychosis, Neurosis, Perversion. Vol. I, no. 3-4;pp. 105-132. Alternation, Enunciation, Hypnosis: Interview with Raymond Bellour by Janet Bergstrom. Vol. I, no. 3-4;pp. 71-103. Selected Bibliography. Vol. I...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 296–320.
Published: 01 September 1991
... that narrativize the rise and fall of career women in contemporary American life and work to punish these de- viant women or reinscribe them within traditional familial structures. In this sense these films draw on narrative and enunciative conventions from the classic film genres of film noir...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 3–5.
Published: 01 May 1981
... Editorial In this issue, we are continuing our previous investigation of the logic of enunciation and sexual difference as figured in the cinema by way of an analysis of Now Voyager. At the same time, we are directing attention toward a complementary area of inquiry by offering...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 12–19.
Published: 01 December 1982
... as a character, but is, also, a question asked by and in the general fiction of the filrn (at the level of the enunciation). In the sports field scene (preceded by the title “Fear the spectator is referred several times to an “outside” of the film, and this also works against the narrow fiction...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 235–241.
Published: 01 December 1989
...” are. The scholar’s analysis also becomes unnecessary. However, enunciation, the theoretical and real connection between text and spectator, still makes a great difference, particularly now that feminism has been accepted as a generic catchphrase and declared old hat by the new modernists or postfeminists...