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Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
... Exciting Form”: Norman Lear’s Mary Hartman, Mary Hartman and the 1970s Viewer Erin Lee Mock After the shocking cancellations of All My Children (ABC, 1970 –  2011) and One Life to Live (ABC, 1968 – 2011), preceded by Guid- ing Light (CBS, 1952 – 2009), As the World Turns (CBS...
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 (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 by...
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 (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...
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 with...
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 of and...
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 of and...
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...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 141–166.
Published: 01 September 2008
... melodrama, in identification with feminist reclamations of the genre, mobilize the subversive potentialities of tears, and hence of melodrama itself, to transcend the conservative limits of the gender relational and heteronormative familial values of the genre's traditional form. This theoretical turn...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 63–93.
Published: 01 December 2011
... the present. 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...
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 (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...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
... of race and sexuality, as well as of formulating “queer of color” as a kind of critical modality. Much like Harriet Beecher Stowe's Uncle Tom's Cabin functions, according to Sigmund Freud, as a cultural artifact prized in the form of an idealized beating fantasy by the Victorian (white) child...
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 (2019) 34 (3): 31–61.
Published: 01 December 2019
... 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 and...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 111–135.
Published: 01 December 2008
... and commodity fetishism as in the service of capital. First, the narrative frustrates all manners of substitution and exchange, so vital for both forms of fetishism. Second, the paternal function is continually evoked—typically in the form of the titular “Big Lebowski”—to be first submitted to...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... “dated” precepts of the genre and its period, encourages a historiographic reconsideration of the sexploitation form, particularly in how it speaks to the spectatorial experiences of women, the undesignated audience of the genre, as well as to public memories of the sexual revolution. This article argues...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 25–59.
Published: 01 September 2012
... films are both recognizable to and somewhat outside world cinema categories, I suggest ways of reading the spectral affects of the films that account for the complex, conflicting forms of spirituality, eroticism, and transgression that make them so popular with their audiences. This type of a reading...