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Journal Article

The Hidden Agenda: Re-Vision: Essays in Feminist Film Criticism

E. Ann Kaplan
Camera Obscura (1985) 5 (1-2 (13-14)): 235–249.
DOI: https://doi.org/10.1215/02705346-5-1-2_13-14-235
Published: 01 September 1985
...E. Ann Kaplan Copyright © 1985 by Camera Obscura 1985 The Hidden Agenda: Re- Vision: Essays in Feminist Film Criticism E. Ann Kaplan Women in Film is fast becoming a publicly recognized sub-field within Film Studies. The recent spate of books externalizes for the larger academic...
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Journal Article

On Carolee

Yvonne Rainer
Camera Obscura (2021) 36 (2 (107)): 129–133.
DOI: https://doi.org/10.1215/02705346-9052844
Published: 01 September 2021
...Yvonne Rainer Abstract The essay celebrates Carolee Schneemann, the author's friend and colleague since their first meeting in the early 1960s at Judson Memorial Church, New York. The essay describes the author's and Schneemann's participation in the dance workshops at Judson. The essay cites...
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Journal Article

Carolee Schneemann's Sonic Shadow

Peggy Phelan
Camera Obscura (2021) 36 (2 (107)): 135–143.
DOI: https://doi.org/10.1215/02705346-9052858
Published: 01 September 2021
...Peggy Phelan Abstract This commemorative essay considers Carolee Schneemann's voice as expressed through performative utterances and written words, with particular focus on Interior Scroll (1975). The essay argues that the performance's documentation in photographs, the primary means...
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Journal Article

In the Shadow

Alessandra Raengo
Camera Obscura (2013) 28 (2 (83)): 1–43.
DOI: https://doi.org/10.1215/02705346-2209907
Published: 01 September 2013
...Alessandra Raengo This essay pursues an understanding of the blackness of black cinema that is unhinged from the body of the maker or the content of the image. It does so by reading blackness through the visual paradigm of the shadow — that is, as a blackness that cannot, other than ideologically...
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Journal Article

The Story of Untold Displacements: Buddhist-Muslim Intimacies and Visions of Ethnic Coexistence in a Thai Queer-Feminist Filmic Archive

Arnika Fuhrmann
Camera Obscura (2019) 34 (2): 163–193.
DOI: https://doi.org/10.1215/02705346-7584952
Published: 01 September 2019
...Arnika Fuhrmann This essay investigates Buddhist-Muslim intimacies and coexistence in Thailand in order to complicate recent discussions of the relation of religion to gender and sexual freedoms. It is concerned with contributing a new, Southeast Asian perspective to a prominent strain...
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Journal Article

Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann

Soyoung Yoon
Camera Obscura (2021) 36 (2 (107)): 175–183.
DOI: https://doi.org/10.1215/02705346-9052914
Published: 01 September 2021
...Soyoung Yoon Abstract This essay attends to the force of aggression in Carolee Schneemann's work, emphasizing the conflicts in the artist's representation of enjoyment, knowledge, and truth in her own body, with a focus on Up To and Including Her Limits (1973–76) and the underexplored text “Anti...
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Journal Article

House Body House

Kenneth White
Camera Obscura (2021) 36 (2 (107)): 185–197.
DOI: https://doi.org/10.1215/02705346-9052928
Published: 01 September 2021
...Kenneth White Abstract The essay describes Carolee Schneemann's residence, a stone house constructed in 1750 by Huguenot settlers on land of the Munsee Lenape people, and its central role in her life and work from the early 1960s until her death in 2019. The essay gives particular attention...
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Journal Article

Biopolitical Masochism in Marina Abramović's The Artist Is Present

Jaime Brunton
Camera Obscura (2017) 32 (1 (94)): 63–91.
DOI: https://doi.org/10.1215/02705346-3776868
Published: 01 May 2017
...Jaime Brunton This essay analyzes The Artist Is Present , Marina Abramović's heavily mediatized 2010 performance at New York's Museum of Modern Art, through the lenses of Freudian and Deleuzian concepts of masochism. It specifically focuses on how the masochistic tendencies of this performance may...
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Journal Article

Two or Three Spectacular Mulatas and the Queer Pleasures of Overidentification

Hiram Perez
Camera Obscura (2008) 23 (1 (67)): 113–143.
DOI: https://doi.org/10.1215/02705346-2007-026
Published: 01 May 2008
...Hiram Perez Building on feminist and queer scholarship on the relationship of film spectatorship to subjectivity, this essay conjectures subaltern spectatorships of the two US film adaptations of Fannie Hurst's 1933 novel Imitation of Life as a means of tracing the impossibly entangled discourses...
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Journal Article

Histories of The Watermelon Woman : Reflexivity between Race and Gender

Catherine Zimmer
Camera Obscura (2008) 23 (2 (68)): 41–66.
DOI: https://doi.org/10.1215/02705346-2008-002
Published: 01 September 2008
...Catherine Zimmer This essay explores Cheryl Dunye's The Watermelon Woman (1997) in the context of reflexive practice in film. The film has been variously approached as queer cinema, women's autobiographical and documentary cinema, and black cinema; this essay emphasizes how one might add to all...
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Journal Article

Tactics of Tears: Excess/Erasure in the Gay Chinese Melodramas of Fleeing by Night and Lan Yu

Kenneth Chan
Camera Obscura (2008) 23 (2 (68)): 141–166.
DOI: https://doi.org/10.1215/02705346-2008-005
Published: 01 September 2008
...Kenneth Chan By first looking at the gay consumption of melodrama, this essay presents the notion of tears as a political trope to negotiate the reclamation of crying from being a signifier of gendered/sexual “weakness” to one of tactical empowerment, a tactics of tears. Gay political readings...
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Journal Article

The Documentaries of Kim Longinotto: Women, Change, and Painful Modernity

Belinda Smaill
Camera Obscura (2009) 24 (2 (71)): 43–75.
DOI: https://doi.org/10.1215/02705346-2009-002
Published: 01 September 2009
... documentaries frequently focus on women and children in not only the United Kingdom but also in cultures as diverse as Japan, Iran, and nations in Africa. This essay explores four of her most well-known recent documentaries, Divorce Iranian Style (1998) and Runaway (2001), both made in Tehran and codirected...
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Journal Article

Yesterday’s Hadaly: On Voicing a Feminist Media Archaeology

Paul Flaig
Camera Obscura (2018) 33 (2 (98)): 105–137.
DOI: https://doi.org/10.1215/02705346-6923130
Published: 01 September 2018
...Paul Flaig This essay offers a feminist critique and correction of media archaeology. Media archaeology has developed over the last two decades as a historiographic response to increasingly advanced contemporary media technologies and, with them, changing accounts and archives of earlier analog...
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Journal Article

Queer Structure, Animated Form, and Really Rosie

Nick Salvato
Camera Obscura (2018) 33 (2 (98)): 139–159.
DOI: https://doi.org/10.1215/02705346-6923142
Published: 01 September 2018
...Nick Salvato With an emphasis on the animated special Really Rosie (CBS, 1975), this essay explores the queer capacities of limited cel animation, an artistic and technical mode that provides striking occasions for figuring both queer ’s potential and its circumscriptions. In the process, the essay...
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Journal Article

“The Harder I Swim, the Faster I Sink”: Top of the Lake ’s Female Detective in the Global Television Economy

Alison Wielgus
Camera Obscura (2019) 34 (2): 71–101.
DOI: https://doi.org/10.1215/02705346-7584916
Published: 01 September 2019
...Alison Wielgus This essay considers the role that Jane Campion’s Top of the Lake (BBC/SundanceTV, 2013) and Top of the Lake: China Girl (BBC/SundanceTV, 2017) play in the post-network television landscape. Situating the series among the globalized genre of serialized post-network crime shows...
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Journal Article

Women with Cameras: The Invention of the Selfie in the Photography of Anne Collier

Liz Linden
Camera Obscura (2019) 34 (2): 195–207.
DOI: https://doi.org/10.1215/02705346-7584964
Published: 01 September 2019
...Liz Linden The essay looks at photographs from American photographer Anne Collier’s ongoing series Woman with a Camera (2006–). The essay argues that Collier’s series anticipates and “invents” the selfie by using anachronistic found materials. A number of Collier’s works in Woman with a Camera...
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Journal Article

Framing Black Performance: Selma and the Poetics of Representation

Courtney R. Baker
Camera Obscura (2020) 35 (2 (104)): 37–61.
DOI: https://doi.org/10.1215/02705346-8359506
Published: 01 September 2020
... more appropriate critical tools and terms to acknowledge black artistic innovations. This essay takes up and reiterates that call, drawing attention to the problems of film interpretation that attend to a version of historical analysis without an understanding of form and medium. Foregrounding film...
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Journal Article

Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain

Anthea Kraut
Camera Obscura (2021) 36 (2 (107)): 1–31.
DOI: https://doi.org/10.1215/02705346-9052774
Published: 01 September 2021
...Anthea Kraut Abstract This essay revisits the question of credit and debt in the celebrated 1952 film musical Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US) to show how white women's dancing bodies participate in the “talent relocations” that the movie both thematizes and suppresses...
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Gift or Weapon? Reproductive Decision, the Phenomenology of Pregnancy, and Alien Language in Denis Villeneuve's Arrival

Naomi Morgenstern
Camera Obscura (2023) 38 (1 (112)): 103–131.
DOI: https://doi.org/10.1215/02705346-10278614
Published: 01 May 2023
...Naomi Morgenstern Abstract This essay analyzes Denis Villeneuve's 2016 film, Arrival , and elucidates its strikingly original meditation on the ethics of reproduction and the relationships between and among embodied maternal subjectivity, language, and temporality. Drawing on deconstructive...
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Journal Article

Archiving Feeling in Yvonne Rainer's Journeys from Berlin/1971

Helena Shaskevich
Camera Obscura (2023) 38 (1 (112)): 133–163.
DOI: https://doi.org/10.1215/02705346-10278628
Published: 01 May 2023
... the period commonly referred to as the German Autumn (1977). Through a close reading of the film's formal structure, this essay argues that Journeys from Berlin/1971 represents Rainer's attempt to imagine a feminist counterpublic in the form of a queer “archive of feelings.” This essay traces the film's...
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