Skip Nav Destination
Search Results for female voice
1-20 of 475 Search Results for
Camera Obscura (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
...Farshid Kazemi Though proscriptions on the gaze in the New Iranian Cinema have been analyzed to some degree, similar proscriptions on the female voice have remained a virtual terra incognita. This article theorizes the unique structure of the voice operative in the New Iranian Cinema through what...
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
... consequences. The voice is a particularly potent site for the production of sexual difference, and the restriction of the female voice to relatively narrow protocols can result in the reduction of female characters to mere agential functions. This article offers brief critical readings of the acousmatic female...
Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
..., and male and female personality traits. By examining the career of one mismatched woman, Deanna Durbin, I revisit film theory's reliance on discourses of synchronicity and patriarchy to account for the female voice in cinema. I show how Durbin's celebrity is dependent on a developing conception...
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
... as a model for collectivity is analyzed in tandem with a reading of Pier Paolo Pasolini's 1965 essay “The Cinema of Poetry.” The article examines several of the film's formal strategies, such as the mobilization of the female authorial voice, in discussing how the film engages with and expands on the notion...
Camera Obscura (2018) 33 (2 (98)): 105–137.
Published: 01 September 2018
... media networks. Redressing the absence of an explicitly feminist media archaeology, the essay focuses on the medium of the gendered telephonic voice and the method of voicing. The former is inspired by the extraordinary prevalence of feminine voices deployed in media old and new, while voicing...
Camera Obscura (2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
..., multidimensional site. Though often peripheral to the miniseries's major plot arcs, the female characters upend the interpretive authority of the voice-over. Their presence unsettles the voice-over's construction of a somewhat monolithic, omniscient, and in many ways melodramatic historical imagination...
Camera Obscura (2019) 34 (3): 157–167.
Published: 01 December 2019
... shape televisual aesthet- ics, complicate the two media forms convergence, and highlight popular music s distinct properties as a medium.3 Theme singing also draws on female singers talents and thus reinforces feminist Figure 2. Insecure (HBO, 2016 ) Voicing Feminine Subjectivities 159 television...
Camera Obscura (2019) 34 (1 (100)): 139–161.
Published: 01 May 2019
..., a cappella performances, and full-fledged production numbers, Akerman employs the female singing voice to signify human connection, but also destruction and dysfunction. Copyright © 2019 Camera Obscura 2019 song cinema Chantal Akerman ...
Camera Obscura (2019) 34 (2): 209–219.
Published: 01 September 2019
...Lynne Joyrich Recently, there has been an explosion of charges of sexual violence and assault within the worlds of media, journalism, and entertainment, with female stars leading the way in making these charges of sexual misconduct public. Indeed, stars—located at precisely the boundaries...
Camera Obscura (1989) 7 (2-3 (20-21)): 151–154.
Published: 01 December 1989
..., aberrant or subversive readings, however they are 153 named). To my mind, feminist readings necessarily place strain on conventional readings since they emerge from a culture eager to dis- avow the female voice, not to mention the voices of marxism, of the lower class or of racial...
Camera Obscura (1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
... image of a sunbathing man. The long list of adjectives that moves from adoration to disgust for the man provides the only narrative progression. This combination of static image against a narrative rise and fall composed and controlled by the female voice-over narration...
Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
.... Crudely exposed in the an- archic, misogynistic world of the Marx Brothers, this male-female dynamic assumes a subtler and more complex character in bona fide film operettas and musicals -movies ostensibly designed to showcase the erotic seductiveness of singing voices. Surely screen...
Camera Obscura (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
... (as a female voice-over asks, “is a translated interview a written or a spoken object it nevertheless struck me less as a compelling con- clusion to the film than a different and fascinating film in its own right. Thus, the closing interviews with the actresses from the first part of the film, who...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 223–233.
Published: 01 December 1982
... Silverman’s paper on the status of the female voice in both classical and avant-garde film, on the other hand, was followed by one of the most focused discussions of the conference. Silverman argued that while both male and female subjects are “spoken by dis- courses and desires which exceed...
Camera Obscura (1976) 1 (1 (1)): 71–75.
Published: 01 May 1976
... encampment. The circus sequences must be used very sparsely; the film must not be saturated with' 'circus ambience". Much of the story will be narrated by an off-screen female voice talking about 'her' although now and then the rust person may be used. (Yes, 1 have no good reason to substitute a male...
Camera Obscura (2021) 36 (2 (107)): 65–97.
Published: 01 September 2021
... characteristics of another genre, the reality TV video confessional often centered on female protagonists’ breakdowns. 10 In the video confessional the direct address of a speaker to the camera becomes an occasion for exaggerated self-display and affective abandon, wherein the human (often female) voice stands...
FIGURES | View All (7)
Camera Obscura (1988) 6 (2 (17)): 215–216.
Published: 01 May 1988
... Who Knew Too Much: Hitchcock and Feminist Theory. Kaja Silverman teaches English and Film Studies at the University of Rochester. She is the author of The Subject of Semiotics and The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Forthcoming is Male Subjectivity...
Camera Obscura (1989) 7 (1 (19)): 142.
Published: 01 January 1989
..., Dis- course, and Wide Angle. Kino and the Woman Question: Feminism and Soviet Silent Film will appear in 1989. Kaja Silverman teaches English and Film Studies at the University of Rochester. She is the author of The Subject of Semiotics and The Acoustic Mirror: The Female Voice...
Camera Obscura (2020) 35 (1 (103)): 77–107.
Published: 01 May 2020
... of betweenness as the space in which (Western) feminine discourse emerges for exam- ple, between the film s visuals and the female voice- off, between the woman s voice and her body might be partially relevant to East- ern or Cambodian presentation of the female genocide- inured voice, it is not prominent...
Camera Obscura (1989) 7 (2-3 (20-21)): 217–219.
Published: 01 December 1989
... devices including the use of disembodied female voice-overs in training films for women and overt requests to a male audience to identify as women, as in Bea Lillie’s wartime short for the U.S. Army, Singing with the Stars. Several wartime films struggle to unite explicit...