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experimental ethnographic cinema

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Journal Article
Camera Obscura (2022) 37 (3 (111)): 31–57.
Published: 01 December 2022
... Chick Strand was years ahead of her time,” asserted Canyon Cinema Foundation in a recent social media post about the 2015 retrospective of the filmmaker at the Tate Modern. 1 Highlighting the contemporary feel of Strand's experimental ethnographic films mostly dating back to the seventies...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
... signature emerges in her struggle against category, especially Weird Wave and “women's cinema” labels. In diegetic and extradiegetic negotiations of belonging, Tsangari's auteurism emerges. epalis@utk.edu Copyright © 2022 by Camera Obscura Published by Duke University Press 2022 Athina Rachel...
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Journal Article
Camera Obscura (2006) 21 (2 (62)): 184–191.
Published: 01 September 2006
... critical writing remains largely untouched by feminism in the UK, Laura Mulvey notwithstanding. Critical writing on experimental cinema has been comparatively sparse; an emphasis on medium in the modernist sense and debates on language and abstraction have become historical orthodoxies...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 89–103.
Published: 01 December 2021
..., realism, ethnographic empathy—as well as the power of cinema to express a feminist vision of how these elements signify a unique experience of the world—Stratman's film lays bare her connection to a tradition that has developed over generations of women making experimental films. The title word VEVER...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
... and the free-­form associative experimentation of The House Is Black, combined with the film’s ostensible subject matter (leprosy), helps to explain the paradox of the film’s central/marginalized position in histories of Iranian cinema. The critical uneasiness regarding the film’s style and genre has...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 57–89.
Published: 01 December 2005
...Catherine Russell Camera Obscura 2005 Catherine Russell is a professor of film studies at Concordia University in Montreal and the director of the PhD in Humanities Program. She is the author of Narrative Mortality: Death, Closure and New Wave Cinemas (1985) and of Experimental...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 1–31.
Published: 01 September 2011
.... For example, MIX NYC, which bills itself as “the longestrunning lesbian, gay, bisexual and transgender film festival in New York City and one of the foremost venues for experimental cinema in the world,” screened the film in 1990 as part of a program organized around black gay representation.30...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
... propose “evocative” or autobiographical narration on the part of the ethnographer as a postmodern strategy for challenging real- ist notions of empirical evidence, self-­present voice, and coherent subjectivity.13 This paradigm of the “self as journey” — ­also adopted recently by the cinema scholar...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
... Project demonstrates the profound impact of digital production on the filming subjects as well as its sociopolitical implications. It asks for a paradigm shift in our theoretical understanding of digital cinema, moving from a focus on the indexicality of the image to a consideration of the plurality...
Journal Article
Camera Obscura (1996) 13 (3 (39)): 4–33.
Published: 01 September 1996
... Marks texts remystify genital surgeries in Africa, creating conventional subjects of an anthropological gaze already well-known to Western viewers through ethnographic and documentary cinema and their popular and mainstream counterparts. Ethnography, as Claude Levi-Strauss defined it, represents...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 129–157.
Published: 01 May 1995
... of subjectivity.V 136 Melodrama, in other words, may help to shift the discussion of Jap- anese cinema away from ethnographic essences, and onto a more properly historical plane in which ideological formations and tensions can be identified. Within the "chronopolitical" debates on premodern...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 119–129.
Published: 01 December 2003
...Eve Oishi Camera Obscura 2003 Eve Oishi is associate professor of women's studies at California State University, Long Beach. Her research is on Asian American, experimental, and queer film/video and literature. She is working on a book titled The Memory Village: Fakeness and the Family...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
..., Marisa Sistach, Moufida Tlatli, Monika Treut, Margarethe von Trotta, and Tizuka Yamasaki. These filmmakers became directors in art, documentary, ethnographic, experimental, and industrial cinema. Unlike their predecessors’, this postwar generation’s birth coincided with the birth and rise...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 71–97.
Published: 01 December 2003
... Edgar Anstey, quoted in Winston, Claiming the Real, 44. 13. See Fatimah Tobing Rony, The Third Eye: Race, Cinema, and Ethnographic Spectacle (Durham, NC: Duke University Press, 1996). 14. Winston, Claiming the Real, 20. 15. Nancy Lutkehaus and Jenny Cool, “Paradigms Lost and Found...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 134–151.
Published: 01 January 1992
... representation. For ex- ample, in his 1975 article “Beyond Observational Cinema,” David MacDougall calls for an ethnographic film practice that is “a process of collaboration-the filmmaker combining the skills and sensibilities of the subjects with his [sic] own...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 61–91.
Published: 01 September 2016
...Sarah Kessler As an audiovisual medium rooted in processes of synchronization, film has sometimes been metaphorized as ventriloquism. At the levels of film genre and form, documentary cinema in particular has also been called ventriloquial, owing to its frequent emphasis on giving voice...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... in the twentieth- century United States. Though stylistically different, the two films express one of the LA Rebellion s underlying imperatives: to emancipate the image from dominant American modes of cinema and white Western value systems, as LA Rebellion filmmaker Ben Caldwell described in a 2010 oral history...
Journal Article
Camera Obscura (2023) 38 (2 (113)): 119–143.
Published: 01 September 2023
... forms of nonfiction filmmaking.” 17 Many feminist filmmakers shunned the realist, observational documentary mode to privilege experimental and autobiographical forms of address and to enact Claire Johnston's 1973 call to challenge “language of the cinema/the depiction of reality” because...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
...Therese Davis The article looks at the contributions of writer and director Darlene Johnson to an emerging Australian Indigenous cinema. It discusses the ways in which Johnson draws on her experience as a young, urban Indigenous woman and her knowledge of Aboriginal culture to explore...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
... beyond a consideration of cinema alone to other media formations and institutions (television, music, photography, medical imaging, digital productions, and so on), both in relation to and in distinction from those of film. However, despite these changes and the varied political, theoretical...