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Journal Article
Camera Obscura (1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
...Jane Weinstock Copyright © 1989 by The Johns Hopkins University Press 1989 Women on the Verge of a Nervous Breakdown (Pedro Almodovar, 1988)
Out of Her Mind: Fantasies of the 26th
New York Film Festival
by Jane Weinstock
You could say it was the Year of the Other at the New...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
...Rhona Berenstein Copyright © 1990 by The Johns Hopkins University Press 1990 Remembering History: Films by Women at the
1989 Toronto Film Festival
Rhona Berenstein
. . . the textual construction (written filmic, etc.) of discursive spaces in
which not Woman...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
...Roya Rastegar Festivals not only select and exhibit films, they also call in audiences and shape the conditions in which these audiences engage with cinema. Drawing from the author's changing personal relationship to cinema culture, and engaging with eleven films that premiered at the 2012 Sundance...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 159–169.
Published: 01 September 2020
...Janice Loreck; Sian Mitchell; Whitney Monaghan; Kirsten Stevens The Melbourne Women in Film Festival (MWFF) is a four-day event in Melbourne, Australia, that supports and celebrates the work of Australian women filmmakers. Launched in 2017, the festival emerged from our desire as screen academics...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 3–38.
Published: 01 December 2003
... Volkes
Feminism 101:
The New York Women’s Video
Festival, 1972–1980
Melinda Barlow
From 1972 to 1980, the New York Women’s Video Festival was the
primary showcase for work by American women videomakers. A
landmark annual event founded by Steina Vasulka in 1972 to
address the dearth...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 127–153.
Published: 01 May 2021
...Rebecca J. DeRoo Abstract This article examines how Agnès Varda used speeches and activism at the Cannes Film Festival in recent years to reveal and challenge the underrepresentation of female directors in the film industry. At the 2015 Cannes Film Festival, she accepted an honorary Palme (lifetime...
FIGURES
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/10.1215_02705346-9052886/3/s_cob9052886figure3.png?Expires=2147483647&Signature=Ug4cZMAiM2vfmDXqkl07TgTri9mmK7xV-iQvoR5hnGC5gB6iT6ocRUb-p9pZiufoptUTBaMBt8ZdKvju574eqGoQBPfz3GQt6MeJdf6nuf3CYnFANIOkGOxT0rrBrLm14lqxkp0DjZuHYB4eq2n3EsVsTGAffUiN1H~AIfz3NUKh-tIh9cRm3gVthM~YA50eF7HZCET1-KUP7~RouRXqE~ID04A8Ut-8xKhoLdYzgu0Kzw4JxIIibvalCfwjLbUU8JWPlQu6CVnajeXq4U5Mwnl0Hz4KUKa~Jqtqj49TEfZ70u-Qnz9AwguqzOSh7QIyDy4pV2aROxU-hghO~WzEdQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Schneemann Sounding: Embodied Sonic Systems
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 3. Carolee Schneemann, Noise Bodies (1965). Avant- Garde Festival, Judson Hall, New York. Pictured: Carolee Schneemann with James Tenney. Photographs by Peter Moore. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. ©
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/10.1215_02705346-8838577/2/s_cob8838577figure7.png?Expires=2147483647&Signature=X8NNsKWfMOGLp~~99lTyEXcb0cTnI1AGDnzGM7FNVH60CgWog8DzMSOlo4YQf-C7Ovti-NeOo4XN36ppFr6Jq8Epam~H7uogpn8ZLtoN2JQetV4TZKGsC0gXT5cpWqt5tv~QLkrn8~Wc3UsdngKBfT956ui4FL3esfXIMBHDb8KajHsGrGwsnYNUG6HyxfAh55SNTNOlFbOICJ0Wv4ZLuQnXPYduUoDvpHrKnq9EIQ3HmqT82HGx~Rf4JH3UCbRSiPrivbqz0~~b5TfhoedTLcTibEUOeg-M0WktL3JpYs4VsY-QNtYS6oJaQOUh8QV8x7pTaonup0x3WH5RzmcZSg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
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 7. 50/50 en 2020, “Festival Heads,” in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes
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/10.1215_02705346-8838577/2/s_cob8838577figure8.png?Expires=2147483647&Signature=CA4atn5iO20Ni1qYY45hSs9vmecVpnsfyfBGjJR-duRi0a7Syho7EQhfzMM5uIw35gVfRnADtj~oTHkvEV7i56iLqIMoNQovYL-ah4TVb0TK34TWJ0EYl316oig0XJEPgoDEI87SH3xY4pNBokkNBIk9srfZdlPMgDltVlNlw2X7FT3CB~OSA-IpMmbdjtSyOz-mosSn0bK5eTnJ5WseQDX~zocW18oGhnRJ1IiW-8ccZfNGDPTgtGRPcxQY1A-HLgZN83PyIPM0NDKp~xZ0iqilXxBtPPB0-grmeNZOeEmr6hZrzNokUSSi73Q6XiktdJWjAdVD9xE0QGQXD5FiGQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
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 8. 50/50 en 2020, Cannes Film Festival female jury presidents, 1946–2018 (detail), in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes
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Image
/10.1215_02705346-8838577/2/s_cob8838577figure9.png?Expires=2147483647&Signature=rjC3cpDDa3CYwMpRPVIU7FGdPlPB54RcmdbXV~sJVc9N2F~nDGGy5-7krbvwQDNt8U0i222Hc662-6pZ5dEEwIrvxfkJ0uxzuzHP1ZWHDzdvPWZU0U9lHczUclcf9WwHMrNJUX9JY-KTzEDdMjw2LMr9JE5KkzWhmjdsP4FrCYAT0LIjiheFjAYiyIrBKW7lrnVdxBJ47hURJUc~p0SEfaFQ1QG7txBPXRfG~X8q80Qta2zLEqZ-bBMeDtaupvqSnhV99co0CKHSZd8i5wEYkAmICRUcjRq67dnzr9jDHpe3MC8zDuNaX7SGg3tN6jozeDddhNYKwiut23xV50wGow__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
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 9. 50/50 en 2020, “Cannes Film Festival Board of Directors,” in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes
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/10.1215_02705346-8838577/2/s_cob8838577figure10.png?Expires=2147483647&Signature=JuLf1RZ~iqUXksXaS3fltKJ9ux0vgJPyj6WbjtF8~6U2mbr9mbo9DBFJokP1Iw2dsIJu88VZ3ci1zLioY1c2ITRP1iJ1YCu1A9BJAFCRDHOEzD5zDwA2p10G2GtKgWeRTHcCAB8YGFiBYPLehmeNwyBqJEq51SIb1ishJVWETxXho0Q0sL4eXZ8elzBD7RxS3GbL~Bdh4CE8s5ETZflGWq6zx~C8AnjX7HSrTpqCeol4N1wGqCAzs1ryjghTbVhZLD8A62DHRFJwUxgf0mHocUDGgPnHkPpBIp1Zge9naP9sKCxNlHCHHSJoe2KRRn4YYNSGr14IqOUwOs-AB9WP5A__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
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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Journal Article
Camera Obscura (2012) 27 (3 (81)): 169–179.
Published: 01 December 2012
...Gerda Johanna Cammaer The small Belgian coastal town of Knokke-le-Zoute once was the scene for one of the most impressive gatherings of the international film avant-garde, when it hosted the last three editions of the illustrious EXPRMNTL film festival (1963, 1967, and 1974). This article focuses...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 159–167.
Published: 01 December 2012
...Kelly Hankin In 2001, the Clif Bar and Company, makers of LUNA: The Whole Nutrition Bar for Women, debuted LUNAFEST, an international touring film festival that showcases short narrative and documentary work by female filmmakers. Since its inception, this festival has made significant inroads...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 145–153.
Published: 01 September 2012
...John Greyson This article presents case studies of two recent Toronto actions protesting Israeli apartheid, as seen through queer eyes: the 2009 Toronto Declaration, a petition with thousands of signatures that condemned the Toronto International Film Festival's (TIFF) collaboration...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 33–65.
Published: 01 December 2013
... a local appreciation of film through film festivals, associations with business and civic organizations, libraries and educational institutions, and radio broadcasts. In particular, through its monthly publication of film reviews, the Cleveland Cinema Club fashioned a reform-oriented spectator whose...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... distribution, and new trends in women's film festivals. Women Make Movies's strategy of advocating for women within the film world is highlighted. Debra Zimmerman has been the executive director of Women Make Movies since 1983. During her tenure it has grown into the largest distributor of films...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
...B. Ruby Rich This article considers the early history of women-directed media, examining its links to political action campaigns in the 1970s and exploring the aims of women's film festivals, production workshops, and Women Make Movies itself. Acknowledging a personal role in the WMM crisis...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 31–57.
Published: 01 May 2019
... and technical specifics involved in creating Akerman’s no-budget films in New York compared to the constraints that would have faced a new filmmaker in France or Belgium at the time. The original 1995 interview was published in Italian for the Pesaro Film Festival. It has been substantially reworked...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 142–153.
Published: 01 December 2020
... held up as a model country and the Film Institute’s CEO Anna Serner has held several widely publicized seminars in Cannes and elsewhere. This article aims to contextualize the Swedish case, as influential curators, jury chairs, and festival directors around the globe have signed the 50/50 by 2020...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
...Katherine Fusco This article argues that Virtual 2Pac , created in 2012 by Digital Domain Media Group in collaboration with Dr. Dre for the Coachella Valley Music and Arts Festival, represents an important twenty-first-century challenge to the relationships between performance and performer, film...
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