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Journal Article
Regulating Mobility: Technology, Modernity, and Feature-Length Narrativity in Traffic in Souls
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Camera Obscura (2002) 17 (1 (49)): 1–29.
Published: 01 May 2002
..., Picturing the Nation: The Moving Pictures and American Modernity . Traffic in Souls (US, 1913), directed by George Loane Tucker.
Courtesy Library of Congress Motion Picture Reading Room
Regulating Mobility: Technology,
Modernity, and Feature-Length
Narrativity in Traffic in Souls
Kristen...
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Instagram photo with Varda posing next to joust posters that feature her ca...
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in From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 7. Instagram photo with Varda posing next to joust posters that feature her cartoon counterpart and other references to her work, with the caption referencing the poster by Christophe Vallaux (Agnès Varda, 2017)
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in “Virtual Varda”: Sustainable Legacies, Digital Communities, and Scholarly Postcards
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 1. Agnès Varda's pruned tree, as featured in the opening sequence of Agnès de ci de là Varda ( Agnes Varda: From Here to There , France, 2011)
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The 2019 Cannes Film Festival Poster featuring Agnès Varda (left); it draws...
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in Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 10. The 2019 Cannes Film Festival Poster featuring Agnès Varda (left); it draws on the historical photograph of Varda filming La Pointe Courte (1954) (right). Courtesy of Rosalie Varda
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in Re witched : Retextuality and the Queering of Bewitched
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 5. Like FamilyNet before it, FETV's social media campaign for Bewitched primarily features Samantha's use of magic for women's work.
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JR's reaction to the film's Oscar nomination on Instagram, with the caption...
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in From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 8. JR's reaction to the film's Oscar nomination on Instagram, with the caption, “When our film @facesplacesfilm is nominated at the Oscar for Best Documentary feature . . . ” (JR, 2018)
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Journal Article
The Wages of Affluence: The High-Rise Housewife in Japanese Sex Films
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Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
..., especially films that featured the popular trope of the housewife. Both low-budget “pink films” and more lushly produced, experimental roman poruno narrative films by Nikkatsu, Japan's oldest studio, put the housewife at the center of their stories and used the housewife's dwelling in modernist architecture...
Journal Article
Toward a Feminist Fourth Cinema: Waru (2017)
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Camera Obscura (2023) 38 (2 (113)): 63–87.
Published: 01 September 2023
... filmmaker Barry Barclay declared the existence of a “fourth cinema,” the cinema of Indigenous peoples, the number of dramatic feature films by Indigenous directors around the globe has grown significantly, with particular attention garnered by the success of Māori filmmaker Taika Waititi. Yet, while...
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Journal Article
Now You See It, Now You Don't: Transnational Feminist Spectatorship and Farida Benlyazid's A Door to the Sky
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Camera Obscura (2009) 24 (2 (71)): 107–137.
Published: 01 September 2009
...Suzanne Gauch Relating the trajectory of a young Franco-Moroccan woman who returns to her native city of Fez and embraces a mystical form of Islam, Farida Benlyazid's 1988 feature film A Door to the Sky has become a mainstay at international women's film festivals and in classes on gender...
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The opening title animation for “Endora Moves In for a Spell,” with the ori...
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in Re witched : Retextuality and the Queering of Bewitched
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 6. The opening title animation for “Endora Moves In for a Spell,” with the original broadcast's extended animation sequence featuring the Aunt Jemima placement (above) and the edits made to it in syndication on FamilyNet and LOGOtv, respectively (below).
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Journal Article
Everything Is Wiped Away: Queer Temporality in Queers in Love at the End of the World
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Camera Obscura (2017) 32 (2 (95)): 185–192.
Published: 01 September 2017
... the usual flow of information between the player and their player-character. In this text-based Twine game, players assume the role of an unnamed, unknown “you” as you spend a final moment with your lover. Made for the prompt “Ten Seconds,” its most notable feature is an omnipresent ten-second timer. When...
Journal Article
The Interpellations of Interpolation; or, The Disintegrating Female Musical Body
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Camera Obscura (2008) 23 (1 (67)): 89–111.
Published: 01 May 2008
.... These shows foreground the aesthetic features—musical bodies—central to every musical, and in doing so they demand that we resist the misleading and indeed stiflingly unmusical mantra of integration. Camera Obscura 2008 Bradley Rogers is a PhD candidate in the Department of Rhetoric...
Journal Article
The Male Sojourner, the Female Director, and Popular European Cinema: The Worlds of Susanne Bier
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Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
...Belinda Smaill This article discusses contemporary Danish director Susanne Bier, whose recent features have received international exposure and acclaim. It situates Bier as a female filmmaker, analyzing what her status as a female director might add to a reading of the circulation of her work...
Journal Article
The Minor Transnationalism of Queer Asian Cinema: Female Authorship and the Short Film Format
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Camera Obscura (2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... as visible as those of their male counterparts unless or until they break onto the scene with a feature film. This essay seeks to examine the short film format's importance to an understanding of women's contributions to queer Asian cinema. It shows how qualities unique to the short film format allow women...
Journal Article
“Becoming-Girl” in the New Russian Cinema: Youth and Valeria Gai Germanika's Films and Television
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Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
...Julia Vassilieva This article explores the work of young Russian female director Valeria Gai Germanika. Germanika has gained a public profile over the last ten years through documentary shorts such as Sisters ( Syostry , 2005), Girls ( Devochki , 2005), and Boys ( Malchiki , 2007); feature film...
Journal Article
Machinic Intimacies and Mechanical Brides: Collectivity between Prosthesis and Surrogacy in Jonathan Mostow's Surrogates and Spike Jonze's Her
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Camera Obscura (2016) 31 (1 (91)): 65–91.
Published: 01 May 2016
...Alla Ivanchikova This article offers a reading of two recent feature films, Jonathan Mostow's Surrogates (US, 2009) and Spike Jonze's Her (US, 2013), as allegories of the tensions inherent in our collective relation with machines, examining the role technology plays in the constitution...
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Journal Article
Willful Women in the Cinema of Maren Ade
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Camera Obscura (2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
...Muriel Cormican While Maren Ade’s three feature films— Der Wald vor lauter Bäumen ( The Forest for the Trees , Germany, 2003), Alle anderen ( Everyone Else , Germany, 2009), and Toni Erdmann (Germany/ Austria, 2016)—employ techniques of realism prevalent in contemporary transnational cinema...
Journal Article
Next to Chantal Akerman: An Installation of Generations and the Shoah
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Camera Obscura (2019) 34 (1 (100)): 99–111.
Published: 01 May 2019
... that the two parts poetically echo each other—one focuses on her writing displayed sculpturally, and the other on an interview with her mother about her grandmother’s diary—and features a projection doubled not only by side-by-side images but also by an additional intervening scrim bearing images of the diary...
Journal Article
CHANTAL? A Dialogue with Sonia Wieder-Atherton
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Camera Obscura (2019) 34 (1 (100)): 197–217.
Published: 01 May 2019
..., 1988). D’Est ( From the East , France/Belgium, 1993) is featured for its impact on the future work of both artists and expanding Chantal’s work from the big screen to live performance with D’Est in Music (2005). Their passion for the live stage and breaking the confines of the film frame is seen...
Journal Article
“The Harder I Swim, the Faster I Sink”: Top of the Lake ’s Female Detective in the Global Television Economy
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Camera Obscura (2019) 34 (2): 71–101.
Published: 01 September 2019
... that feature female detectives, this essay argues that Campion reworks the genre’s fascination with victimized women from her auteurist and Antipodean perspective. While the characterization and actions of the female detective resonate with other programs’ protagonists, Campion challenges dominant discourses...
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