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Journal Article
Fassbinder and Lacan: A Reconsideration of Gaze, Look, and Image
Available to Purchase
Camera Obscura (1989) 7 (1 (19)): 54–85.
Published: 01 January 1989
...Kaja Silverman Copyright © 1989 by The Johns Hopkins University Press 1989
Fassbinder and Lacan: A Reconsideration of
Gaze, Look and Image
Kaja Silverman
Although the descriptive phrase “aesthetics of pessimism” derives from
Fassbinder himself,l it might well have been...
Journal Article
Hook and Eye: Violence and the Captive Gaze
Available to Purchase
Camera Obscura (2004) 19 (2 (56)): 75–103.
Published: 01 September 2004
... , and English Studies in Canada . Currently she is working on a book on violence in film and stage versions of Shakespeare's plays. Catherine (Jennifer Lopez) as subjected beauty: the viewer’s
“full prize,” in The Cell (dir. Tarsem Singh, US/Germany,
2000)
Hook and Eye:
Violence and the Captive Gaze...
Journal Article
Affects of the Gaze: Post-Oedipal Desire and the Traversal of Fantasy in Blade Runner
Available to Purchase
Camera Obscura (2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
... & Event . From Blade Runner (dir. Ridley Scott, US, 1982)
Affects of the Gaze: Post-Oedipal
Desire and the Traversal
of Fantasy in Blade Runner
Richard Pope
Despite the vagaries of the film and its reception, within the uni-
versity a consensus interpretation of Blade Runner (dir...
Journal Article
Oh, “Doll Divine”: Mary Pickford, Masquerade, and the Pedophilic Gaze
Available to Purchase
Camera Obscura (2001) 16 (3 (48)): 197–227.
Published: 01 December 2001
...) holding her own against the
hardened miners. Rags (US 1915), directed by James
Kirwood. Photos throughout courtesy Academy of
Motion Picture Arts and Sciences
Oh, “Doll Divine”:
Mary Pickford,
Masquerade, and the
Pedophilic Gaze
Gaylyn Studlar
Mary Pickford, doll divine,
Year by year...
Journal Article
Violence and the Gaze in Catherine Breillat's Fat Girl ( À ma sœur! )
Available to Purchase
Camera Obscura (2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
... surrounding these films rather than on their structure and the radical politics of the gaze they enact. Fat Girl depicts shocking and violent material as a means of critiquing the underlying structural violence that the director believes determines gendered power relations. Breillat's films have been...
Journal Article
Beyond the Gaze: Visual Fascination and the Feminine Image in Silent Hitchcock
Available to Purchase
Camera Obscura (2004) 19 (1 (55)): 77–111.
Published: 01 May 2004
... the Gaze: Visual
Fascination and the Feminine
Image in Silent Hitchcock
Jessica Brent
Are not the traits which I indicated (the make-up, the
whiteness, the wig, etc.) just like the blunting of a meaning too
clear, too violent? Do they not give the obvious signified a kind
of difficultly...
Journal Article
Is the Gaze Maternal?: E. Ann Kaplan's Women and Film: Both Sides of the Camera
Available to Purchase
Camera Obscura (1985) 5 (1-2 (13-14)): 195–214.
Published: 01 September 1985
...Diane Waldman; Janet Walker Copyright © 1985 by Camera Obscura 1985 Book Reviews
Is the Gaze Maternal?: E. Ann Kaplan’s Women
and FiZm: Both Sides of the Camera
Dime WaZdman andJanet WaZher
It has been over two years since the publication of E. Ann Kaplan’s...
Image
The transgender gaze of Marina (Daniela Vega) takes hold, the mirror acting...
Available to Purchase
in No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2024
Figure 1. The transgender gaze of Marina (Daniela Vega) takes hold, the mirror acting as a shield against cisgender scrutiny. A Fantastic Woman (dir. Sebastián Lelio, Chile, 2017)
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Image
in No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2024
Figure 7. The fantastic transgender gaze of Marina (Daniela Vega) takes flight. A Fantastic Woman (dir. Sebastián Lelio, Chile, 2017)
More
Journal Article
The Leftovers of Conspiracy: The Deformed Gazes of Under the Silver Lake
Available to Purchase
Camera Obscura (2025) 40 (1 (118)): 118–145.
Published: 01 May 2025
..., constantly relegated to the film's background both literally and metaphorically, are never handled with enough sophistication in the film, forcing the viewer into the disturbing position of reproducing the conspiracy theorist's gaze. The article thus critiques the film's failure to adequately move beyond...
FIGURES
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Journal Article
No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman
Available to Purchase
Camera Obscura (2024) 39 (1 (115)): 157–188.
Published: 01 May 2024
...Figure 1. The transgender gaze of Marina (Daniela Vega) takes hold, the mirror acting as a shield against cisgender scrutiny. A Fantastic Woman (dir. Sebastián Lelio, Chile, 2017) ...
FIGURES
| View all 10
Journal Article
The Black Visual Experience: Hendrix, Porn, and Authenticity
Available to Purchase
Camera Obscura (2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... and the multiplicity of gazes at play in the making of this authenticity. Specifically, the tape illuminates the reflexive constitution of an authentic black masculinity via the white female gaze while further revealing pornography's investment in the imaging and imagining of a genuine black masculinity as being still...
Journal Article
Adam Harvey's “Anti-Drone” Wear in Three Sites of Opacity
Available to Purchase
Camera Obscura (2016) 31 (2 (92)): 175–185.
Published: 01 September 2016
... of opacity shifts discussions of seeing and knowing toward situatedness, partiality, and the limits of the Western gaze; this section draws on Donna Haraway's interventions into debates about objectivity and Chandra Talpade Mohanty's critique of the colonial gaze in some Western feminist scholarship...
Journal Article
Learning to Love What Passes: Sensual Perception, Temporal Transformation, and Epistemic Production in Hirokazu Kore-eda's After Life
Available to Purchase
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... and alternating between documentary-like scenarios and quiet, evocative cinematic pauses on the natural world, After Life contrasts a bucolic landscape with the spectacle of film production. Moreover, After Life privileges the transformative potential of a benevolent gaze (subjectively held by its female...
View articletitled, Learning to Love What Passes: Sensual Perception, Temporal Transformation, and Epistemic Production in Hirokazu Kore-eda's After Life
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Journal Article
Watching Women: Surveillance and Spectatorship in Early Science Fiction Television
Available to Purchase
Camera Obscura (2024) 39 (1 (115)): 35–61.
Published: 01 May 2024
...Cara Dickason Abstract This article analyzes episodes of early science fiction anthology series to examine how fears of television's ability to turn its gaze on the home circulated around women, both as objects of surveillance and as television spectators, in the 1950s and 1960s. Media historians...
FIGURES
Journal Article
Nguyễn Trinh Thi's Landscape Series #1 (2013) and the Limits of Search and Destroy
Available to Purchase
Camera Obscura (2025) 40 (1 (118)): 90–117.
Published: 01 May 2025
... a slideshow of Vietnamese press photographs featuring anonymous witnesses pointing to undescribed, unknown events in varied Southeast Asian landscapes, Nguyễn's five‐minute film renders the gaze a visible and felt presence through her staging of iterative and intensifying acts of witnessing against a quiet...
FIGURES
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Journal Article
Mothers and Daughters: Abjection and the Monstrous-Feminine in Japan's Dark Water and South Korea's A Tale of Two Sisters
Available to Purchase
Camera Obscura (2009) 24 (2 (71)): 139–159.
Published: 01 September 2009
... of gender in the psychological constitution of the subject. As a further extension into the cinematic representation of women, the female usurpation of the gaze will also be dissected in terms of its adverse consequences in these films. The essay therefore argues that the current Asian horror film...
Journal Article
Recycled Wounds: Trauma, Gender, and Ethnicity in Keren Yedaya's Or, My Treasure
Available to Purchase
Camera Obscura (2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... argue that Or, My Treasure is a critical Mizrahi feminist film that exposes the hegemonic social gaze as a political mechanism of power and violence that terrorizes the Mizrahi female body. The ethnic, class, and gender oppression of the Mizrahi female subject creates a traumatic experience...
Journal Article
Show Me Yours: Cyber-Exhibitionism from Perversion to Politics
Available to Purchase
Camera Obscura (2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
... the rigidity of physical space and the ephemerality of real-time information processing. The contested boundary between public and private is necessarily reconfigured along with the mediated gaze relation, its articulation with language and textuality, and its possibilities for communication and horizontal...
Journal Article
Vertigo and the Vertiginous History of Film Theory
Available to Purchase
Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
... impossible to read it without referencing the cinematic lexicon of scopophilia, fetishism, voyeurism, the sadistic male gaze, objectification of the female body, mental images, relational images, thought cinema, the imaginary Real, the symbolic Real, and the “Real Real.” This essay traces how critical...
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