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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1986) 5 (3 (15)): 6–35.
Published: 01 December 1986
... present, and ensure the past’s presence in a future safely contained and constrained by tradition and history. At best, it will carry the father’s name forward; at the least, his “seed.” Thus, in its representation of the infant and child, bourgeois mythology has constructed a sign of the fu- ture...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1993) 11 (2 (32)): 41–74.
Published: 01 September 1993
...Sharon Willis Copyright © 1993 by Indiana University Press 1993 The Fathers Watch The Boys’ Room Sharon Willis The Boys’ Room Quentin Tarantino’s characters spend a lot of time in the bathroom, and because they do, the bathroom acquires a certain centrality. This is an...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 103–123.
Published: 01 December 2013
...Sam McBean Alison Bechdel's autobiographical graphic novel, Fun Home (2006), intricately weaves together the author's coming-out story with her family's history, particularly the story of her father's closeted queer sexuality and possible suicide. In its exploration of family history, queer desires...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
... adolescence and expose the mismatch as a zone of liminality that can be confined to neither the diegesis nor the father. The instability of Durbin's voice is exemplified by the two halves of her cinematic oeuvre. Prior to US entry into the Second World War, Universal presented Deanna Durbin as a young...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2004) 19 (1 (55)): 113–149.
Published: 01 May 2004
... (Kevin Spacey), who becomes “a father again” by foregoing the chance to capitalize on his fan- tasy—to sleep with his teenage daughter’s friend, Angela (Mena Suvari).1 The film understands this endorsement of the injunc- tion against incest broadly and in terms we might characterize as Lacanian...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 199–225.
Published: 01 May 1997
... structures that attend them. That fantasmatic figure can apply so much control, I will argue, precisely because of his fictitiousness, but unlike the fictional father that Sigmund Freud theorized in Totem and Taboo, this patriarchal figure exerts economic and other forms of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 39–67.
Published: 01 December 2012
... Invisible (Intellect, 2012). © 2012 by Camera Obscura 2012 Figure . Bad Father. Invaders from Mars (dir. William Cameron Menzies, US, On Film Studies and the Unconscious Chris Dumas I always had the impression, when I was very small, that my father was two people, one good...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 68–81.
Published: 01 May 1988
... enormously popular French film, Three Men and a Cradle, and the American remake, Three Men and a Baby, which are about an infant named Mary who is left on the doorstep of the infant’s father and his two male housemates, are interesting manifes- tations of the concern about father’s rights that has...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 30–67.
Published: 01 May 1988
... is a rather hateful book by Janine Chasseguet-Smirgel- a book which consistently comes down on the side of the father, “mature” sexuality, and a well-fortified ego-that seems best to intuit the challenge that perversion poses to the symbolic order. She cautions that “the pervert is trying...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2007) 22 (3 (66)): 25–59.
Published: 01 December 2007
..., Fantasy, and Rage in the Teen-Girl Badlands Barbara Jane Brickman Partway through Terrence Malick’s Badlands (US, 1973), the teen- age narrator of the film, Holly (Sissy Spacek), enters into a kind of daydream, triggered by images in her father’s stereopticon and advanced by her voice...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 6–29.
Published: 01 May 1988
... fantasy he describes as one of fellatio. The two people whose love affair occupied her mind so incessantly are Dora’s father and his lover Frau K. Through hysterical identification Dora takes up Frau K’s sexual This essay will be appearing in Psychoanalysis and Culture, ed. James Donald (London...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 101–124.
Published: 01 September 1991
... difference” in his perversion “grounded in his refusal of the symbolic father and in his contract with the phallic mother.”10This latter remark is echoed in Tania Modleski’s reading of the male desire to arrogate to men women’s function in the reproductive process in the film Three...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 181–185.
Published: 01 May 2007
... Freud — display an intimacy, either despite the genre or because of it, and they invite an affective engagement with Freud’s personal history. This affective presence and possibility derives in part from the fact that the “father” (of Anna, of psychoanalysis) is in front of the camera rather...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 112–137.
Published: 01 May 1992
... primogenital crime responsible for virtually all subsequent social organization. Freud’s myth of the primal horde and of the murder of the father by a band of brothers represents an attempt to account for the ambivalent admixture of fear, love, and envy charac- terizing the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1996) 13 (1 (37)): 6–30.
Published: 01 January 1996
... sexually uncertain, needs a boarder to share his apartment, Apartment Zero, until his psychotic mother comes home from the hospital.8 Residing in a complex inhabited by many recog- nizable examples of modern social alienation-Laura, a bored and lonely housewife in love with her dead father; Vanessa...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1996) 13 (1 (37)): 238–239.
Published: 01 January 1996
... student in the Department of Musicology at Princeton University. His interests include film music, punk and indie rock, and modernism. Nina Schwartz is an Associate Professor of English at Southern Methodist University. Her book, Dead Fathers: The Logic of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1986) 5 (3 (15)): 180–181.
Published: 01 December 1986
... Kelly No Essential Femininity: A Conversation Between Mary Kelly and Paul Smith. No. 13-14; pp. 149-157. Sobchack, Vivian 181 Child/Alien/Father: Patriarchal Crisis and Generic Exchange. No. 15; pp. 7-35. Solomon-Godeau...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 71–113.
Published: 01 December 2001
... relationship between sexuality and racism. Lindner discusses his own understandable disgust, as a Jew, for his patient and the patient’s views, while the patient in turn wields his anti-Semitism at his Jewish doctor, merging it with his hatred for his own father...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 203–225.
Published: 01 January 1988
... contains extensive 206 holdings in the area of domestic comedy and family drama, ranging from such early series as Jackson and Jill, Wren's Nest and The Marriage, to such classic comedies as I Love Lucy, The Honeymooners, Father Knows Best and Leave it to Beaver, to soap...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2006) 21 (2 (62)): 108–143.
Published: 01 September 2006
... temporal and spatial terms. This is the logic of the final moments in Tykwer’s first fea- ture film, Deadly Maria (Die Tödliche Maria, Germany, 1993): the almost autistic Maria (Nina Petri), a domestic servant of sorts to her husband (Péter Franke) and her father ( Josef Bierbichler...