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feminist authorship

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Journal Article
Camera Obscura (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
...Eleni Palis Abstract This article uses Athina Rachel Tsangari's films to interrogate and reframe the Greek “Weird Wave” film movement (largely shaped by her frequent collaborator, Yorgos Lanthimos), revealing how the wave has obscured Tsangari's feminist authorship. In general, the Weird Wave had...
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Journal Article
Camera Obscura (2018) 33 (3 (99)): 1–19.
Published: 01 December 2018
...Hester Baer; Angelica Fenner Setting the stage for this special issue of Camera Obscura , the introduction makes the case for German cinema as a renewed site for the theorization of women’s film authorship and feminist film production today. German cinema presents an especially generative case...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... melodrama that is at once problematic and generative. I situate the film at the crossroads of two complementary and sometimes contradictory genealogies: the “thinking woman's film,” engaged with female subjectivity and authorship belonging to an influential white liberal feminist genealogy...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 147–155.
Published: 01 December 2018
... film authorship, namely: feminist structures (WIFTG), demands for a quota system (PQF), and a grassroots feminist mentoring collective of film school graduates (ITW). Copyright © 2018 Camera Obscura 2018 gender parity German film industry quota system film collectives Verband der...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 8–27.
Published: 01 January 1990
..., approaches to issues of women and film. Questions of authorship, in particular, allowed feminist theorists to challenge established ways of writing about film history, and to rethink, at the level of production, the complicated relationships between gender iden- tity and sexual...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 110–127.
Published: 01 May 1981
... the different material operations of Authorship as con- htions and functions of the circulation of film products has interest- ing consequences for feminist cinema, inasmuch as it is specifically concerned with the politics of the personal and has taken the question of first person...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 107–139.
Published: 01 December 2023
..., and Penny Summerfield elaborate in their analysis of women's autobiography, “a feminist questioning of universalist assumptions.” 10 Furthermore, as Nancy K. Miller notes in her exploration of the possibility of the construction of a “female critical subject” via women's authorship, the woman...
FIGURES
Journal Article
Camera Obscura (2006) 21 (1 (61)): 39–44.
Published: 01 May 2006
... of the author) that allowed wom- en’s subjectivity to speak to us across those texts. Yet at the same historical moment that feminist biographers adapted auteurist criticism to female subjects, literary critics pronounced the death of authorship — a political fact most pointedly noticed by Nancy K...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 159–169.
Published: 01 September 2020
... in production. 12. Catherine Grant, Secret Agents: Feminist Theories of Women s Film Authorship, Feminist Theory 2, no. 1 (2001): 113 30. 13. We are inspired by works such as Judith Butler s Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990) and Undoing Gender (New York...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 65–97.
Published: 01 December 2016
... such analyses are particularly important for the future of feminist think- ing, not least because feminist theories of art and feminist aesthet- ics have traditionally been closely tied to questions of performativ- ity, participation, and the sociopolitical dimensions of art. Feminist aesthetics...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... to The Watermelon Woman to suggest how reflexivity might be used otherwise. A discussion of the film's reflexive movements illuminates the ways that certain feminist filmmaking practices, though highly influential, are excluded from theoretical discussions on modes of cinematic discourse and maintained instead...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 155–160.
Published: 01 December 1989
..., address the questionnaire’s dual concerns of theory and experi- ence, first by devoting a lengthy introductory chapter to issues in feminist film theory, where spectatorship plays an absolutely central role, and then by outlining a short preface which traces my own development as a feminist...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 1–3.
Published: 01 May 2014
.... Titled “Between Worlds: The Place of the Female Director in Twenty-­First-­Century Film Cultures and Femi- nist Theory,” the workshop was motivated by the renewed intel- lectual energy in recent feminist film theory around questions of women’s filmmaking. Our group shared a particular sense...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... Transnationalism of Queer Asian Cinema: Female Authorship and the Short Film Format Olivia Khoo Critical approaches to Asian women directors are shaped within the evolving disciplinary formation of Asian cinema, which so far has privileged auteurism as the dominant framework in defining...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
... texts. The fusion of history and theory that feminist film studies potentially offers can only have an activist component, she argues, when the cinema is recognized as operating within “larger spheres of cultural power.” Moving beyond models of authorship to under- stand how power and agency...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
... (Bloomington: Indiana University Press, 1990), 90. 16. Catherine Grant, “Secret Agents: Feminist Theories of Women’s Film Authorship,” Feminist Theory 2, no. 1 (2001): 123. 17. Most articles on Holofcener cite her family connection to Allen. When she was eight, her mother married Charles...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 148–165.
Published: 01 September 1991
... Untitled (It’s our pleasure to disgust you) (Barbara Kruger, 1990) Modernist Logic in Feminist Histories of Art Amelia Jones Vision and Difference: Femininity, Feminism and the Histories of Art, Griselda Pollock. London and New York: Routledge, 1988. Visual and Other Pleasures, Laura...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 4–7.
Published: 01 January 1990
...Lea Jacobs; Patrice Petro Copyright © 1990 by The Johns Hopkins University Press 1990 Editorial In her important and oft-cited introduction to The Work of Dorothy Arzner, Claire Johnston asked: “DO feminist critics simply want to introduce women into film history?” Johnston...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 297–300.
Published: 01 December 1989
... and claiming filmic engagement through repulsion as well as attraction, occurs alongside the second which is conscious and vol- untary. IV. “I Say I Am: ’70s Feminist Performance Video” (1985) uses speech act and discourse theories to describe attempts by feminist artists to speak in the first...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 321–322.
Published: 01 September 1991
... and feminist theory and French and Hollywood film. The most recent of these, “The Lesbian, the Mother, the Heterosexual Lover: Irigaray’s Recodings of Difference,” appeared in the Sum- mer 1991 issue of Feminist Studies. Henry Jenkins is Assistant Professor of Literature at MIT. He is the author...