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Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
... by seeming to revise the very relationship between those viewers and the medium itself. Louise Lasser is Mary Hartman in Mary Hartman, Mary Hartman (syndicated, 1976 – 77). “The Soap Opera Is a Hell of an Exciting Form”: Norman Lear’s Mary Hartman, Mary Hartman and the 1970s Viewer Erin...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 177–189.
Published: 01 September 2013
... lens, Leonard works from an implicitly queer and feminist perspective that puts pressure on both hegemonic modes of seeing and our ways of narrating them. Such concerns have similarly animated the work of art historian Huey Copeland, whose writing explores the ways in which forms of cultural difference...
Journal Article
Camera Obscura (2018) 33 (2 (98)): 139–159.
Published: 01 September 2018
... situates queer as a structure of feeling that tends to be glimpsed not in its murkiness as a structure but rather through some of the forms in which it gets concretized. It comprehends limited cel animation as a fertile mode through whose motions we may test claims about queer structure’s precipitation...
Journal Article
Camera Obscura (2020) 35 (3 (105)): iv–29.
Published: 01 December 2020
...Lakshmi Padmanabhan What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
...Sara Saljoughi This article examines the problem of collectivity in Forugh Farrokhzad's The House Is Black ( Khaneh siah ast , Iran, 1962), an experimental film set in a leper colony in northwestern Iran. Focusing on the film's experiments with form, the article explores how the development of new...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 166–191.
Published: 01 May 1994
...Laura Stempel Mumford Copyright © 1994 by Indiana University Press 1994 thirtysomething Stripping on the Girl Channel: Lifetime, thirtysomething, and Television Form Laura Stempel Mumford Television drama texts are defined as much...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 82–88.
Published: 01 May 1988
...Mark Cousins Copyright © 1988 by The Johns Hopkins University Press 1988 La photographie mkdicafe (Albert Londe, preface by Charcot, 1893) Forme fruste Introduction to Ray Barrie’s Fellowdrama Mark Cousim Above all Charcot prided himself on looking. “He was, as he...
Image
Published: 01 May 2021
Figure 2. Professor Feride Çiçekoğlu, coorganizer of “Gender Equality and Sustainability: Agnès Varda's Sustaining Legacy,” sends a virtual postcard in the form of her introduction to the online event, unofficially renamed “Virtual Varda,” on 28 March 2020. Courtesy of Feride Çiçekoğlu More
Journal Article
Camera Obscura (2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
...Francesca Coppa Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation of and confrontation...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 131–138.
Published: 01 September 2011
...Francesca Coppa; Rebecca Tushnet Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 139–146.
Published: 01 September 2011
...Kristina Busse; Alexis Lothian Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 163–183.
Published: 01 May 2019
.... In Akerman’s films, history insists, returns, refuses to disappear. Memories are haunting and haunt those who were, and are, persecuted. The conference examined Akerman’s cinematic strategies of taking time to forget in transforming the traces of history into resistive forms. In working with cinematic forms...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 60–87.
Published: 01 December 2020
... it to the elision of gendered labor found in Stan Brakhage’s lyrical film Star Garden (US, 1974). The article charts two types of gendered labor Robertson engages in over the course of the project. First, as a document that tracks Robertson’s weight loss, a form of labor that she presents in a register...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 63–93.
Published: 01 December 2011
.... The masturbatory quality of performance documentation and porn is characterized by self-pleasure and a plentitude of affect. It also involves the structuring of a present performance in relation to the fantasy of a previous performance that is viewed in a technologically mediated form of documentation...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
... Schmid), Fränze (Helen Vita), Cilly (Annemarie Düringer), Trude (Irm Hermann), the Whore of Babylon (uncredited), the waitress (Elke Haltaufderheide), and Mieze (Barbara Sukowa). Across successive episodes, these minor characters offer a version of seriality inside the serial form that is Berlin...
Journal Article
Camera Obscura (2019) 34 (3): 31–61.
Published: 01 December 2019
... of production and reception, I argue that the content and form of TV in its developmental years directly contextualize industry and society. In its first decades of mass use, television refigured spatial relationships by creating an uncanny liminality between the public sphere of commerce and entertainment...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 39–75.
Published: 01 May 2020
... affiliation with a feminist agenda, this article argues that these works are deeply intertwined at the level of their interrogation of socially sanctioned forms of interaction. Embracing the dynamics of open systems, Sobell cultivates fluid forms of communication and exposes the invisible threads that connect...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 31–53.
Published: 01 May 2023
... of resistance, nor a scene of perpetual adolescence, but a positive queer feminist creative engagement with the possibility of new forms of knowing, relating, and desiring. Attending to the emergence of the cinéfille and cinefillia allows us to articulate a sense of looking back that is not simply tied...
FIGURES
Journal Article
Camera Obscura (2023) 38 (1 (112)): 133–163.
Published: 01 May 2023
... the period commonly referred to as the German Autumn (1977). Through a close reading of the film's formal structure, this essay argues that Journeys from Berlin/1971 represents Rainer's attempt to imagine a feminist counterpublic in the form of a queer “archive of feelings.” This essay traces the film's...
FIGURES | View All (10)
Journal Article
Camera Obscura (2017) 32 (1 (94)): 93–127.
Published: 01 May 2017
...Hervé Picherit This essay argues that the French actress Arletty, née Léonie Bathiat, engaged in a multifaceted and complex form of selfhood that profoundly influenced her role in the classic film of the French occupation period, Les enfants du paradis ( Children of Paradise , dir. Marcel Carné...