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Camera Obscura (2019) 34 (1 (100)): 13–29.
Published: 01 May 2019
...), Almayer’s Folly ( La Folie Almayer , France/Belgium, 2011), and the installation Selfportrait/ Autobiography: A Work in Progress (1998); topics encompass analog video editing, viewer experiences of film versus installation work, and how Atherton’s interest in Taoism informs her understanding of movement...
Camera Obscura (2022) 37 (1 (109)): 61–89.
Published: 01 May 2022
... director. However, this essay moves beyond a cursory reading of Denis's film as a celebration of paternal legacies, arguing that its atmospheric textures—the phantasmatic movement of its intertexts, the resonance of its rhythmic editing, or the vague force of its enigmatic gestures—express a critique...
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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...
Camera Obscura (2014) 29 (2 (86)): 85–117.
Published: 01 September 2014
... performances in order to execute their trick techniques, films like Betty let their comediennes run wild in front of the camera, instead making sense of their irrational behavior through postproduction editing. Comedy has always haunted the emergence of cinema both as a narrative storytelling medium...
Camera Obscura (1988) 6 (1 (16)): 226–227.
Published: 01 January 1988
... research on television sponsorship during the 1950s. Books Received The Hollywood Film Industry edited by Paul Kerr. Methuen, 1987. $13.95. Heavenly Bodies: Film Stars and Society by Richard Dyer. St. Martin's Press, 1986. $11.95. Male Fantasies (Vol. I: Women, Floods, Bodies, History) by Klaus...
Camera Obscura (1988) 6 (1 (16)): 227–229.
Published: 01 January 1988
... intellectuals and mass culture. Randall Vogt is in the Ph.D. program in Communication Arts at the University of Wisconsin-Madison. He is currently doing research on television sponsorship during the 1950s. Books Received The Hollywood Film Industry edited by Paul Kerr. Methuen, 1987. $13.95...
Camera Obscura (1995) 12 (3 (36)): 155–157.
Published: 01 September 1995
... Po1itics:Judy Chicago's Dinner Party in Feminist Art History edited by Amelia Jones. University of California Press, 1996. Movies and Meaning: An Introduction to Film by Stephen Prince. Allyn and Bacon, 1997. Fashioning the Nation: Costume and Identity in British Cinema by Pam Cook. Indiana University...
Camera Obscura (1995) 12 (2 (35)): 223–225.
Published: 01 May 1995
.... Univer- sity of California Press, 1996. $16.00. From Peep Show to Palace: The Birth ofAmerican Film by David Robinson. Columbia University Press, 1996. $29.50. Silent Film edited by Richard Abel. Rutgers University Press, 1996. $20.00. New Novel, New Wave, New Politics: Fictionand the Representation...
Camera Obscura (1980) 2 (3 (6)): 112–119.
Published: 01 December 1980
... cinematography (reverse motion, &sappearing objects, freeze frames, etc with filming, editing, and projection as the big tricks in the bag, but from a lund of fantasy status the filmmaker accords herself by specific visual and aural marks withn the film and from the clearly subjective constellation...
Camera Obscura (1989) 7 (2-3 (20-21)): 336–372.
Published: 01 December 1989
... (1982): 13-23. Armatage, Kay. “All That Lovin’ Stuff: Sexuality and Sexual Representation in Some Recent Films by Women.” CineACTION 10 (1987):35-7. Bakhtin, Mikhail. The Dialogic Imagination. Edited by Michael Holquist. Translated by Caryl Emerson and Michael...
Camera Obscura (2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
... priority was teaching basic skills — screenwriting and 16mm filming, editing, and sound as well as video and radio production — as tools for strengthening communication among neighborhood residents. As WMM cultivated a civically engaged media center, it received national press coverage from...
Camera Obscura (2007) 22 (3 (66)): 1–23.
Published: 01 December 2007
... Readings (1993). She edited America First: Naming the Nation in US Film (2007) and After Diana (1998), and she coedited (with Chris Townsend) The Art of Tracey Emin (2002) and (with Naomi Segal and Elizabeth Wright) Coming out of Feminism? (1998). Photo courtesy Ron Hagell Mulvey’s Manifesto...
Camera Obscura (2003) 18 (2 (53)): 57–91.
Published: 01 September 2003
... very much in a mode of spatial disruption. Insistent and fragmentary close-ups, fast and unpre- dictable editing, and off-centered framings radically decontextu- alize its narrative space. The resulting tension is irresolvable: Joan’s personality and the ﬁlm’s spatial organization make equally...
Camera Obscura (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
... meticu- lously and lovingly edits found images from postwar ephemeral ﬁlm together with a poetic, ﬁrst-person voice-over to articulate gay male structures of feeling in the age of the AIDS epidemic. Lost and Found The use of found footage in Decodings constitutes a highly per- sonal...
Camera Obscura (2000) 15 (1 (43)): 163–191.
Published: 01 May 2000
... the shot repeatedly and persuades the film crew to find the segments of the film that have been edited out. (Significantly, this refer- ence to film editing, and in particular to what editing removes, is one of the first instances in the film that reflects on filmic...
Camera Obscura (1996) 13 (3 (39)): 77–103.
Published: 01 September 1996
... those editing de- vices which further a film's narrative with the "dramatic trick work" of the early filmmakers: In parallel editing the "magical" switches from one line of action to an- other are not the product of a Melies-like prestidigitator, nor indications...
Camera Obscura (1991) 9 (1-2 (25-26)): 274–295.
Published: 01 September 1991
..., alternately monumentalizing and miniaturizing them. Thus, the film’s editing and its camera angles, which produce surprising relations of image to frame, are strategies for Oedipalizing the visual field along with the narrative, offering the spectator an uneasily and unevenly infantile point...
Camera Obscura (2007) 22 (2 (65)): 73–101.
Published: 01 September 2007
... a beaded curtain at the back of the bar singing to himself and watching the woman perform onstage. We realize that the film’s editing has momentarily allowed Dos Santos to realize his dream of being center stage. However, he is not the one actually singing and being watched by the male...
Camera Obscura (2001) 16 (2 (47)): 37–77.
Published: 01 September 2001
... The characterization of the two protagonists as predatory women thus can be seen as coinciding with the ﬁlm’s thematic and formal concern with severing and recombining elements in the manner of surrealist collage and photomontage, as in the rapidly edited juxtaposition of various still shots that continually...
Camera Obscura (2005) 20 (2 (59)): 119–163.
Published: 01 September 2005
...-length American films (likeThe Cheat), with their realistic decor, natu- ralistic acting, contemporary subject matter, and faster editing; and the short documentary-style films (like The Scott Expedition), with their capacity to disclose, as if for the first time, spectacles of the near (blood...