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Camera Obscura (1980) 2 (2 (5)): 80–85.
Published: 01 September 1980
...Karyn Kay Exchanges (Bette Gordon, 1978) The Incomplete Act as the Significant Act: Notes on the Films of Bette Gordon Karyn Kay Bette Gordon’s films reveal an attempt to make visible the previously invisible “mysteries of cinematic representation’’ and its relation to the...
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
...) and other “questionable” black films, such as David Gordon Green's George Washington (US, 2000) and the Hughes Brothers' film From Hell (dir. Albert Hughes and Allen Hughes, US, 2001), the essay advances a conception of the blackness of black cinema that does not secure an unequivocal racial referent...
Camera Obscura (2020) 35 (3 (105)): 132–141.
Published: 01 December 2020
... images. In this interview, Willis describes her research as a student relying on periodical records as well as on the support of Black artists such as Roy DeCarava, Carrie Mae Weems, Gordon Parks, and James VanDerZee. This conversation with the author intertwines Willis’s personal history and the history...
Camera Obscura (1980) 2 (3 (6)): 154.
Published: 01 December 1980
... Films of Bette Gordon. Vol. 2, no. 5; pp. 81-85. Kuntzel, Thierry The Film-Work, 2. Vol. 2, no. 5; pp. 7-68. Sight, Insight, and Power: Allegory of a Cave. Vol. 2, no. 6; pp. 91-110. Lyon, Elisabeth The Cinema of Lo1 V. Stein. Vol. 2, no. 6; pp. 7-41...
Camera Obscura (2001) 16 (3 (48)): 264–265.
Published: 01 December 2001
... Mississippi, 2001. Gelder, Ken, ed. The Horror Reader. New York: Routledge, 2000. Gordon, Rae Beth. Why the French Love Jerry Lewis: From Cabaret to Early Cinema. Stanford, CA: Stanford University Press, 2001. Journal of Scholarly Publishing. North York, ON: University of Toronto Press, April...
Camera Obscura (1989) 7 (2-3 (20-21)): 230–234.
Published: 01 December 1989
.... I’m aiming for the kind of tension that Linda Gordon describes in assessing two poles that inform women’s history (the “rectification of past er- rors” and the insistence on the “story-telling” function of history) (Gordon 1986). In feminist film studies these poles...
Camera Obscura (1992) 10 (1 (28)): 78–99.
Published: 01 January 1992
... changes that make a change. For example, consider the debate staged between Linda Gordon and Joan Scott on agency and poststructuralism in Signs-staged as against poststruc- turalist theory and against determinism on the one hand, and for poststructuralist theory and against humanism on the...
Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
... Vertigo as defying the logic of identification and its symbolic order (Žižek, Esquenazi, Pisters, Deleuze),6 focusing instead on centripetal forces, forces of disjuncture and intensity (Gordon, Marker, Godard).7 Such readings of Vertigo, however, diverge. On the one hand, Slavoj Žižek...
Camera Obscura (2007) 22 (2 (65)): 154–157.
Published: 01 September 2007
... a feminist, that she was bad news, and that it would be better if I forgot about her and paid attention to the more intelligent artistry of Kathleen Hanna or Kim Gordon. But I was worried about Love, and so I snuck off and studied her, privately, on my own. She was mean and she was in...
Camera Obscura (2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
... Gordon Quinn and Jerry Blumenthal at the famed Kartemquin Films for help in making a documentary to save the Chicago Maternity Center, an institution that had served poor and immigrant women since 1895. The two women, both members of the Chicago Women’s Libera- tion Union, were working in...
Camera Obscura (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
... films recall Linda Gordon’s discussion of historiographical progress, since she notes that it ‘‘proceeds by rearranging relationships within old stories, not by writing new stories. The old stories have been ours, too- women’s, not only men’s-although that is a contested point. . . .”3...
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
... extent than their counter parts in recent cycles of US media productions involving homes haunted by otherworldly forces. Many haunted home films of the last thirty years tend to subscribe to the cultural logic of haunting described by Avery F. Gordon as “an animated state in which a repressed...
Camera Obscura (1988) 6 (3 (18)): 80–94.
Published: 01 September 1988
... is to be found solely in feminine personality construction. 29. After writing the first draft of this essay, I read Linda Gordon's "What's New in Women's History?" in Teresea de Lauretis, ed., Feminist Studies! Critical Studies (Bloomington: Indiana University Press, 1986), pp.2D• 30...
Camera Obscura (1988) 6 (1 (16)): 203–225.
Published: 01 January 1988
... sit-com centers on how Dennis, while always trying to be helpful, manages to make a mess of things. Many episodes concern Dennis's neighbor, Mr. Wilson, who was played from 1959 to 1962 by Joseph Kearns. After Kearns's death, Gale Gordon joins the cast as Mr. Wilson's...
Camera Obscura (1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
... writer of A Winter Tan, Rowlands’s famous actress seems to be smoking, drinking, starving, and fucking herself to death. Like Maryse Holder, Rowlands’s Myrtle Gordon tends to wear her mas- ochism on her sleeve. Like Maryse, she is terrified of aging. A lengthy...
Camera Obscura (2008) 23 (1 (67)): 165–171.
Published: 01 May 2008
... D’Acosta, Mick Jagger, David Bowie, David Johansen, Joan Jett, Andy Warhol, and their fictional alter egos: Dorian Gray, Stephen Gordon, Jonathan Brockett, Orlando, Robin Vote, Paul Arbian, Brian Fairy, and Maxwell Demon. From fin de siècle decadence to urban post-punk glam, the...
Camera Obscura (1990) 8 (1 (22)): 138–149.
Published: 01 January 1990
... Interviews and Other Writings 1972-1 977, ed. Colin Gordon, trans. Colin Gordon, Leo Marshall, John Mepham and Kate Soper (New York: Pantheon, 1980) 219-20. 2. Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (New York: Vintage, 1975). 3. Foucault, The...
Camera Obscura (1988) 6 (2 (17)): 68–81.
Published: 01 May 1988
... jar such “sternness” led many feminists to support Mr. Stern himself, and to reject the claims of the biological mother of the child, Mary Beth 79 Whitehead. Women like Mary Gordon in her essay in Ms. magazine wrote compellingly about men’s need to nurture-an argument that, as...
Camera Obscura (2012) 27 (2 (80)): 25–59.
Published: 01 September 2012
... members have done. Instead, her ghostly presence makes him feel his crimes. As Avery Gordon suggests: “What is distinctive about haunting is that it is an animated state in which a repressed or unresolved social violence is making itself known, sometimes very directly, sometimes obliquely...
Camera Obscura (2011) 26 (3 (78)): 137–145.
Published: 01 December 2011
... And Herschell Gordon Lewis was very inspiring for the depressing suburbia parts. Do you think about your film through a feminist sensibility? I’m interested in how you see yourself as a woman filmmaker making a film about and using the conventions of a largely male-dominated mode of...