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Camera Obscura (2021) 36 (3 (108)): 1–31.
Published: 01 December 2021
... especially) as irrelevant and passé, syndicated programs are neither of those things if their continued popularity assures our familiarity with them. As a text, Bewitched is already supple enough to motivate two politically opposing media brands to pick it up, but the context of each of these channels’ flow...
FIGURES | View All (6)
Camera Obscura (2017) 32 (2 (95)): 185–192.
Published: 01 September 2017
... the usual flow of information between the player and their player-character. In this text-based Twine game, players assume the role of an unnamed, unknown “you” as you spend a final moment with your lover. Made for the prompt “Ten Seconds,” its most notable feature is an omnipresent ten-second timer. When...
Camera Obscura (1994) 11-12 (3-1 (33-34)): 132–145.
Published: 01 May 1994
... such as thirtysomething (among many others) to the extent that its meaning is altered. Lifetime becomes more than a cable service; arguably, it becomes an author, a source of enunciation. This is achieved through the overall “flow” of the Lifetime broadcast and especially through...
Camera Obscura (2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... naturally through situated, contingent rela- tions.10 Key to the emergence that happens in these networks is their provisional nature. Involvement in a creative network can be a lasting affair, but it can also involve temporary encounters that implicate an individual in the flow of creative labor...
Camera Obscura (1984) 4 (3 (12)): 89–106.
Published: 01 December 1984
... to his thought and are closely linked to his rereading of Freud’s theory of energy as determin- ing the memory system as well as the aetiology of neurosis and psychosis. Lyotard then brings this rethinking of energy flow to bear on political theory and makes it part of his concern...
Camera Obscura (1990) 8 (3 (24)): 204–205.
Published: 01 September 1990
... This is how things are with me these days. Vol. 3. Tanikawa to Terayarna The sound of running water is heard. In short, ah . . you know. Hmmm . . . what to say? Eventually, yes. In the a long run. . . . Very much so. Ambiguous or perhaps formless. It is flowing, you see...
Camera Obscura (1992) 10 (2 (29)): 240–243.
Published: 01 May 1992
... in an outpatient setting. With doppler ultrasound, objects in motion, such as blood flow, can be seen moving toward or away from the ultrasound source. Uses in reproductive biology have included anatomical studies, studies 242 of mass lesions, detection of ectopic pregnancies, and use in infertility...
Camera Obscura (1976) 1 (1 (1)): 128–139.
Published: 01 May 1976
... clearlyshe does not consider herself to be a politic- al filmmaker (nor is she considered in Germany to be one), neither does she see herself as an esthete or feel that her films exist outside of a social context. Her concern is in the creation of a flow of images, freeing the sensuality of images from...
Camera Obscura (1980) 2 (3 (6)): 42–49.
Published: 01 December 1980
... that is imposed on it when it itself is superseded. I mean nothing else. 44 The overall meaning of a film, I think, is both the permanence of this duection and the different intensities produced by its flow through the shots it traverses. And, of course, also, the enactment [mise en oeuvre...
Camera Obscura (2006) 21 (2 (62)): 170–176.
Published: 01 September 2006
... Luckett, “Marriage as the New Trend,” Flow 3 (2005), jot.communication.utexas.edu/flow/?jot=view&id=1132. 5. Kathleen Rowe, The Unruly Woman: Gender and the Genres of Laughter (Austin: University of Texas Press, 1995). 6. Tania Modleski, Feminism without Women: Culture and Criticism...
Camera Obscura (2002) 17 (1 (49)): 1–29.
Published: 01 May 2002
... trafﬁc of the white slave trade, as the Swedish immigrants, the country girl, and Little Sister (Ethel Grandin) are, one by one, detoured from the ﬂow of legitimate trafﬁc into the white slave trade by the notorious traf- ﬁckers, who capture their prey at train stations, at trolley stops...
Camera Obscura (2021) 36 (2 (107)): 65–97.
Published: 01 September 2021
..., and that this is her first video profile for the online dating platform eHarmony. In the course of outlining her interests, Debbie turns to the topic of cats. She loves cats. She really, really, loves cats . Tears begin to flow. As the video takes a turn toward the melodramatic, Debbie comes to the tragic kernel...
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Camera Obscura (1988) 6 (1 (16)): 117–127.
Published: 01 January 1988
... than resolve, the flow (of narrative actions, or programming). As TV viewers, then, we crave the perpetual continuation which the disrupted wedding provides. My analysis focuses on two weddings that took place on General Hos• pital, that of Kevin O'Connor and Terry...
Camera Obscura (2011) 26 (2 (77)): 139–146.
Published: 01 September 2011
... into my PhD dissertation on deviant futures and queer temporalities, and it led me to contemplate vidding as a critical methodology that allows an argument to exceed a conventional textual structure. The juxtapositional logic of a vid, rather than the explanatory and linear flow of textual argu...
Camera Obscura (2015) 30 (1 (88)): 41–69.
Published: 01 May 2015
... of three meals per day in the domestic setting, TV has been integral to structuring modes of dietary and temporal discipline around the rhythms and flows of the console. Toby Miller notes that frozen dinners were first marketed in the US in 1953, targeting middle-class stay-at-home mothers...
Camera Obscura (1988) 6 (1 (16)): 128–153.
Published: 01 January 1988
... of postm odern America n culture in which history, subjec• tivity, and reality itself flattens out into a TV image and we are left searching for signs of mean ing within an endless flow of images-a situation lead ing to nostalgia for past trad itions and wha t may be a backlash...
Camera Obscura (2015) 30 (1 (88)): 1–9.
Published: 01 May 2015
... into the flow and to keep them there, attuned to what s happening on the screen and in the TV universe. In turn, it is our project as television studies scholars to analyze those screened images, this flow of and tuning in to our culture. It is our particular goal in this issue to analyze reality television...
Camera Obscura (1994) 11-12 (3-1 (33-34)): 166–191.
Published: 01 May 1994
... overall address and the serial nature of television itself. By examining the patterns of consumption encour- aged by Lifetime’s rotation of off-network series, we may also come closer to understanding the roles played by some important theoretical dyads, such as repetition and interruption, flow...
Camera Obscura (2014) 29 (1 (85)): 1–3.
Published: 01 May 2014
... worlds, cinematic and cultural. Note 1. A version of this public lecture has been published as Patricia White, “Global Flows of Women’s Cinema: Nadine Labaki and Female Authorship,” in Media Authorship, ed. Cynthia Chris and David A. Gerstner (London: Routledge, 2013), 212...
Camera Obscura (2003) 18 (1 (52)): 129–155.
Published: 01 May 2003
... is for a mummy complex, for an art that would serve as “a defense against the passage of time. . . . To preserve, artiﬁcially, his bodily appearance is to snatch it from the ﬂow of time, to stow it away neatly, so to speak, in the hold of life” (9). This control over time is part of the shock...