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Journal Article
Camera Obscura (2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
...Iveta Jusová; Dan Reyes Stylized, irreverent, and iconographically ambiguous, the 1969 Czech New Wave film The Fruit of Paradise ( Ovoce stromů rajských jíme , dir. Věra Chytilová) has frequently left even admiring audiences at a loss for words. In our reading, we take this film's intense but...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 27–63.
Published: 01 May 2016
..., 2010) illustrate that the binding of the asexual to the single, though seemingly misguided, can open up fruitful pathways for reimagining queer relationality. Responding in part to scholarship on singlehood and asexuality while also attending to the film studies historiography of sexuality, this essay...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 184–185.
Published: 01 December 2014
... Medium. No. 86: pp. 85 – 117 Iveta Jusová and Dan Reyes Věra Chytilová’s The Fruit of Paradise: A Tale of a Feminine Aesthetic, Dancing Color, and a Doll Who Kills the Devil. No. 87: pp. 65 – 91 184 Volume Index  • 185 Olivia...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 1–3.
Published: 01 May 2014
... direc- tor offered a fruitful place to begin. Acknowledging the inter­ disciplinary and transnational legacy of the feminist film tradi- tion in Australia, which includes the work of influential scholars such as Meaghan Morris, Lesley Stern, Laleen Jayamanne, Helen Grace, and Barbara Creed, we...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 233–237.
Published: 01 December 1982
... Maureen Turim’s paper on ritual, desire, and death in Oshima’s Ceremonies. Of this group, the most fruitful and informative presentations were given by Sandy Flitterman and Mary Ann Doane. Flitterman’s paper proposed an understanding of the “socialization of desire” in La Maternelle from a...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 27–31.
Published: 01 May 2006
... Camera Obscura’s triple rubric. In this respect, I find the journal’s current stated fields very useful in des- ignating areas of investigation most fruitful for understanding the Archive for the Future  •  29 ideological and social consequences of representing...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 137–143.
Published: 01 December 2006
... apparent openness to the demographic spectrum of the American public, such programming demarcates who merits inclusion in television’s national family (namely, those who dem- onstrate enough “self-discipline” to manage and enjoy the fruits of consumer culture) versus who is judged as taking too much...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 137–141.
Published: 01 December 1989
... from the two models generally used to discuss identification and narrative -the Lacanian mirror phrase and the Oedipal plot. It might be equally fruitful to consider the way in which Giambattista Vico’s view of history as a series of patterned repetitions and...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 314–318.
Published: 01 December 1989
... positions (including masculine and feminine ones), but “an identification with one [position] implies an identification with the other” (17). Fruitful as these directions of inquiry are, I am concerned about the lack of attention paid to the notion of the social subject...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 210–215.
Published: 01 December 1982
... really initiated, at least in France, a fruitful direction for research. It can’t be cited today, therefore, without at least attempting to discern those aspects that are still salient. For instance, it seems to me fairly obvi- 213 ous that the notion of the ISA’s (which anyway...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 119–163.
Published: 01 September 2005
Journal Article
Camera Obscura (1988) 6 (2 (17)): 133–154.
Published: 01 May 1988
... humongous Fruit of the Looms over his head to show how this simple, everyday garment can be turned into a nun’s habit or Rapunzel’s flowing hair? Once one has noticed the very adult sexual antics mixed in with the child’s play on this show, one inevitably wonders how this is...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 89–111.
Published: 01 May 2008
... older mode of composition, however, “could never succeed, on account of standing in a fundamentally wrong relation to that element of poetry which was alone capable of bearing fruit; having, in his unnatural and usurping situation, robbed it, in a certain sense, of its productive...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 146–154.
Published: 01 September 1988
... discipline, it is particularly important that these questions be addressed. Film History: Theory and Practice demon• strates, once again, the fruitfulness of the authors' approach. The book ought to do more than merely institutionalize this approach, however; it is important that it lead to an increased...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 136–143.
Published: 01 May 1981
... consider the film’s form as essential, not only in the production of the images, but also in the production of the meaning of the image. Though sex-role analysis can yield fruitful information-Phyllis Boane’s paper on the image of black women in cinema offered historical...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 41–69.
Published: 01 December 2003
... desperate for Western-looking noses. Touma drove the borrowed truck “Sousou la Coquette” around Beirut offering for sale not fruit but marzipan noses in “ethnic” shapes. Over the truck’s megaphone (which usually alerts customers what vegetables are for sale) Touma “incit[ed] people to fight the...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 28–59.
Published: 01 September 1983
... keying allows a form to be isolated (the upper body, the face, the hand moving forward, the bowl of fruit), emphasizing contrasts which have become quite violent (a bright blue medallion against a red / orange / purple background), varied, combined, attenuated by the...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 121–154.
Published: 01 December 2017
... Jacqueline Zita, “The Films of Barbara Hammer: Counter- currencies of a Lesbian Iconography” The concern with texture and tactility in some recent writing on cinema has provided a range of fruitful insights while also open- ing up spaces of possibility for further analytic, methodological, and...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
... the end of Duck Soup (1933),the four Marx Brothers spontaneously pelt Mrs. Teasdale (Margaret Dumont) with fruit as she reaches for the top note in her operatic rendition of “Hail, Freedonia.” Such violence is at one with the film’s overall burlesque of pretense and social...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 101–135.
Published: 01 December 2012
... cultural- feminist iconography. One of the sequences culmi- nates with a woman who, expressing what seems to be her anger and jealousy over a straying lover, overturns a picnic table laden with fruit, vegetables, and other food items that she then attacks with an ax. The scene seems like an assault...