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Camera Obscura (2013) 28 (3 (84)): 159–167.
Published: 01 December 2013
... changes that have taken place in the field — namely, the rise of queer theory. Indeed, queer theorists may be drawn to film and media, as is evident in a wide range of key works, precisely because film and media are (figurations of) queer theory. One key thinker who understood this early on and...
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
... judgment enter into film theory. Within the pretty, then, we might find unexpected potential to think aesthetics otherwise. Pretty is an invented term; that which it names is figured differently and often implicitly across film theories that have few similarities except for this strange commonality in what...
Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
...Kriss Ravetto-Biagioli Alfred Hitchcock's Vertigo is one of the most acclaimed films of all times, recognized by scores of critics, film theorists, and film historians as a pivotal work in both film history and film theory. By now, Vertigo is so deeply embedded in film theory that it is almost...
Camera Obscura (1988) 6 (3 (18)): 80–94.
Published: 01 September 1988
...Diane Waldman Copyright © 1988 by The Johns Hopkins University Press 1988 Film Theory and the Gendered Spectator: The Female or the Feminist Reader? Diane Waldman Like literary theory and criticism, film theory has moved from a notion of meaning immanent in the text to a concern...
Camera Obscura (1984) 4 (3 (12)): 66–85.
Published: 01 December 1984
...Dana Polan © 1984 by Camera Obscura 1984 ‘ ‘Desire Shifts the DZferance’’ : Figural Poetics and Figural Politics in the Film Theory of Marie-Claire Ropars Dana Polan Polymorphous and perverse the cinema explodes the sign in...
Camera Obscura (1981) 3 (1 (7)): 66–87.
Published: 01 May 1981
...R.S. Hamilton © 1981 by Camera Obscura 1981 Breulhless (Jean-Luc Godard, 1959) Between the First and Second Semiologies: Psychoanalysis and Film Theory R. S. Hamilton Entre le discours dtbile et le discours excitt, il n’est pas...
Camera Obscura (1989) 7 (2-3 (20-21)): 68–81.
Published: 01 December 1989
Camera Obscura (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
... the film sound theorist Michel Chion calls the acousmêtre , or the acousmatic voice. By bringing together Chion, Lacan, and feminist film theory, the article analyzes the acousmatization of the male voice in Gabbeh (dir. Mohsen Makhmalbaf, Iran/France, 1996) and Banoo-ye ordibehesht ( The May Lady...
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... protagonist) that productively learns from and contributes to a sensual, humanistic, and epistemic perception. Combining analyses of Ozu's films (by Noël Burch, Gilles Deleuze, David Desser, and Donald Richie) with film theories (by Roland Barthes, Walter Benjamin, Mary Ann Doane, and Jean Epstein), I trace...
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... conversation covers the growth of the organization since the 1970s, the close connection between feminist film theory and independent filmmaking in the 1980s, changes in the culture of documentary, gender inequities in film directing and in financing of films about women, the impact of digital culture on...
Camera Obscura (2018) 33 (3 (99)): 1–19.
Published: 01 December 2018
... study for considering women’s filmmaking in neoliberal times because of its centrality to the development of feminist film theory at an earlier historical moment in the 1970s. Reframing the history of the West German feminist film movement, the introduction considers the unfolding of new practices of...
Camera Obscura (1984) 4 (3 (12)): 130–143.
Published: 01 December 1984
...Lynne Kirby Linda Williams (Urbana: University of Illinois Press, 1981) © 1984 by Camera Obscura 1984 L'Age d'Or (Luis Bunuel, 1930) Book Reviews Figures of Desire: A Theory and Analysis of Surrealist Film by Linda WiUzams (Urbana: University of Iiiinois Press, 1981) Lynne...
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 of...
Camera Obscura (2017) 32 (2 (95)): 153–163.
Published: 01 September 2017
... film theory and practice and feminist and queer video game culture and criticism. Diana Pozo organizes the Queerness and Games Conference and taught the Queerness and Games Design Workshop at the University of California, Berkeley, in 2015. Pozo recently graduated from the University of...
Camera Obscura (1983) 4 (2 (11)): 60–71.
Published: 01 September 1983
... in connection with other images, and with respect to the spectator's gaze. These considerations are neglected in the reviews which describe Keller's films as "feminist." This gap between personal film criticism and feminist film theory is reinforced by Keller's own definition of feminist...
Camera Obscura (2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... person during a fictional convention called AwesomeCon; during the course of a single playthrough they can become friends, get into heated arguments, or simply have an awkward conversation and leave. In a similar tradition to ideas advanced in feminist film theory such as Kaja Silverman's Subject of...
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
... writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared...
Camera Obscura (2015) 30 (3 (90)): 161–187.
Published: 01 December 2015
... that mediation plays in this so-called cinema of immediacy. Furthermore, this missed encounter between the films of the NFE and the critical discourse about them raises a larger set of questions regarding the status of theory in the field of contemporary film studies, particularly in the dialectical...
Camera Obscura (2012) 27 (2 (80)): 25–59.
Published: 01 September 2012
... requires a rethinking of Western melodrama theory that presumes melodrama has emerged during a “de-sacralized” or secular context, and it necessitates a new type of African video-film criticism that takes gender and the body as a point of departure. Furthermore, I argue that in order to understand how...
Camera Obscura (1990) 8 (1 (22)): 8–27.
Published: 01 January 1990
...Patrice Petro Feminism and Film History Patrice Petro It’s now too easy to assume that if a text is labelled “feminist” theory, then it can’t properly “count” or “figure” as anything else (“woman’s sphere”, again). Meaghan Morris1...