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Journal Article
Camera Obscura (2018) 33 (1 (97)): 1–27.
Published: 01 May 2018
... production. Although Turkish film producers first adapted European exploitation films (particularly Italian erotic comedies), in time they created a trashy and irregular film practice addressing the specific needs of its assumed audience: young, unemployed, underclass men with rural backgrounds. The article...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 179–186.
Published: 01 May 2017
...Alicia Kozma This article examines Stephanie Rothman and her career as a second-wave exploitation film director between 1966 and 1974. Marginally represented in film histories and archives, Rothman made seven films during her short career and flourished in the primarily masculinized world of second...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
... in lighting” by Griffith, they also systematically engage in, and attempt to disguise, their own insidious racial exploitation, both onscreen and offscreen. Constructed to incite and assuage anxieties about the transgression of boundaries between black and white, male and female, and adult and child, Temple's...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... that these filmmakers exploit what I term the audience's cruel knowledge about actresses in order to position the films in relation to the other art forms associated with their actresses (ballet and pornography). Building from the premise that spectacle and excess are necessary to both celebrity and cruelty, I argue...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... the notion of the stranger. Coincidence in this case would seem to satisfy a contemporary desire for recognition and connection among strangers, which the film would then exploit for its melodramatic potential. Yet far from facilitating a purely utopian meditation on countering the alienating structures...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 41–73.
Published: 01 September 2010
... and the exploitation of bodily secretions such as tears, sweat, and fingernails. Drawing on the writings of Michael Hardt and Antonio Negri, I argue that Rottenberg's works meditate on how women's bodies are reshaped and rendered productive by the shift from industrial production to “biopolitical production...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
...” Western audiences about oppression on the “dark continent.” The article focuses on the respective story lines, which indict Western corporations, and on the directors' manipulation of lightness and darkness as a means of literally rendering Western exploitation visible. Despite this potential, however...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 75–117.
Published: 01 September 2010
... in Hollywood, she exploited the new possibilities of mass media—films, paperbacks, newspapers, and magazines—to simultaneously promote herself and her sexual agenda. Furthermore, she used her films to eroticize cinematic structures of spectatorship. Elinor Glyn demonstrates how to make love in a publicity...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... produced by performances across the color line, I argue that Horne's withholding exploited the conventions of the cabaret to resist the circumscribed roles available to black women performers on the Jim Crow stage. In autobiographical accounts of her early nightclub performances, she embraces what I term...
Journal Article
Camera Obscura (2019) 34 (2): 1–39.
Published: 01 September 2019
... the political power of these interventions, accusations were leveled at Beyoncé of cultural appropriation and exploitation of suffering by the neoliberal entertainment machine. By mentoring these artists, Beyoncé sought to convey the fertility of creative foment across borders and power hierarchies, even if her...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
...John Belton This essay looks at the relationship between the two narrative registers of Max Ophüls's Lola Montès (France, 1955)—the staging of circus attractions in the present and the repeated flashbacks to the past—in terms of the way in which the circus exploits Lola's associations...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... rendered by montage or whip pans. The Snake Pit and Sorry, Wrong Number , like other films of the 1940s centered on female insanity, exploit the language of cinema in order to make spectators partake in their pathologized versions of the sensory world. This restructuring of perception by mental illness has...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 86–109.
Published: 01 December 1986
...- ror, comprising pictures that skirt the edge of the impermissable visually and psychologically, or plunge over the edge. Shot on low budgets, employing unknown actors and waning Holly- wood luminaries, many cruel films piled up fortunes on the drive-in exploitation circuit. The best...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
... of production. Yet in Hostel, the metaphor of the neoliberal, globalized factory as a biopolitical site of exploitation by a wealthy elite becomes provocatively literal: the wealthy pay human traffickers vast sums of money to torture young tourists to death on the site of an empty factory in Eastern Europe...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 111–114.
Published: 01 September 1980
... pressure and fantasy. Also, as I have worked in documentary for some time now, I became increasingly worried about the possibility of making a documentary that wasn’t exploitative. I am still unsure if this is possible. For instance, in the Time Out (London) review...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... and interiors connected through lines of technology and power that remain tantalizingly obscure. It contrasts spaces based on their affective and social roles and exploits the blurred line between public and private space, or between the productive site of labor and the reproductive site of domesticity...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 129–155.
Published: 01 May 2003
... made by Salvador Dali, Luis Buñuel, Man Ray, and the like truly exploit to the fullest what many theorists have called the photographic principle of Surrealism. This principle contends that only photography embodies the Surrealist notions of the cou- pling of two realities—a principle noted...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... Schaefer has detailed, sexploitation films inherited some of their presentational and publicity tactics from their industrial progenitor, the classical exploitation film, while narrowing their concern with the body out of control to overtly sexualized sub- jects.1 Sexploitation’s subcycles ranged...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 88–115.
Published: 01 December 2020
... to data colonialism. 6 The labor itself may be simultaneously voluntarily given and unwaged, enjoyed and exploited, as Tiziana Terranova observed in an influential early analysis.7 It has become practically compulsory as more aspects of everyday life are integrated with social technologies...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 59–105.
Published: 01 May 2005
... and exploitative or, as above, simply reduced to little more than a spec- tacle of male rape and nudity. The most common critical and popular charge against Oz is that it was “too difficult to watch.” As Robert Bianco complained in USA Today, Oz is “a pain-provoking, barely watchable prison drama...