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Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
...Erin Lee Mock Mary Hartman, Mary Hartman (syndicated, 1976 – 77) rightly remains a touchstone for television scholars whose work emphasizes genre, gender, and sexuality, and its creator, Norman Lear, is a critical figure to discussions of the television industry in the 1970s. I argue...
Journal Article
Camera Obscura (1999) 14 (3 (42)): 96–123.
Published: 01 September 1999
... and retooled inside as well as out, with rebuilt, har•
dened bodies to encase their radically reconfigured subjectivities, these
newly minted "indestructible men" will leave Parris Island, then, not
as individual, militarized automatons. Instead, as their drill instructor
Gunnery Sergeant Hartman (Lee...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 169–170.
Published: 01 December 2013
...
Hartman, Mary Hartman and the 1970s Viewer. No. 83: pp. 109 – 51
Mimi Thi Nguyen
Diasporic Erotic: Love, Loss, and the Copy. No. 82: pp. 69 – 101
John G. Nichols
Cinemactivism: Film Reform, Spectatorship, and the Cleveland
Cinema Club. No. 84: pp. 33 – 65
Julianne Pidduck
The Times...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 37–61.
Published: 01 September 2020
... disrup- tive, nonindexical filmmaking and film interpretation. This tradi- tion now converges with new and renewed theories of blackness as fugitive and dissembling (as in the work of Fred Moten, Saidiya Hartman, Édouard Glissant, and Sylvia Wynter) that resonate pow- erfully with and are reflected...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
.... For
Saidiya V. Hartman and Farah Jasmine Griffin, Ester “is both ven-
triloquist and dummy” and “is cast away, like the utterly depleted
body of the whore,” such that Mignon’s “mulatta visibility depends
on the erasure or marginalization of black women.”7 Even as they
acknowledge Dash’s strides...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 45–93.
Published: 01 May 2000
...), The Bob Newhart Show
(1972–78), and others. Tandem/TAT, headed by Norman Lear,
produced All in the Family (1971–79), Good Times (1974–79),
The Jeffersons (1975–85), Maude (1972–78), Sanford and Son
(1972–77), and Mary Hartman, Mary Hartman (1976–77), among...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 99–125.
Published: 01 September 2021
... less resonance in Hungarian, I did not mean mere wordplay. Instead, I was thinking about Geoffrey Hartman's analysis of Schindler's List , in which he warns about the “bigger story” the movie projects at the expense of another story, that of gender. “ Schindler's List leads us to accept ideologies...
FIGURES
Journal Article
Camera Obscura (2020) 35 (1 (103)): 109–137.
Published: 01 May 2020
... as commodities to perform what Saidiya Hartman calls economies of pleasure and terror. 9 Dead Muslims social death writ large have been very good to Hollywood. This new visual trend in which white women bury Muslims in democracy s graveyard reveals that while ethical indifference has always been the engine...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 177–189.
Published: 01 September 2013
... that time. It’s a facsimile and we knew it would only work if it
could “pass.”
Photography, the Archive, and the Question of Feminist Form • 185
For me, what you’ve said has resonances with Hilton Als’s book The
Women and with the work of scholars like Saidiya Hartman who are try-
ing...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 1–29.
Published: 01 December 2022
.... Arondekar, For the Record , 4; Ann Laura Stoler, Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense (Princeton, NJ: Princeton University Press, 2010), 43. 9. Saidiya Hartman, “Venus in Two Acts,” Small Axe 12, no. 2 (2008): 11, https://doi.org/10.1215/-12-2-1...
FIGURES
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Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 166–191.
Published: 01 May 1994
...?
In most cases, of course, the answer is a straightforward “no.” No
one would confuse a sitcom, or even a soap parody like Soap and
Mary Hartman, Mary Hartman with a soap opera, no matter how
often it aired. Nor would many people be tempted to identify as soaps...
Journal Article
Camera Obscura (2024) 39 (1 (115)): 95–126.
Published: 01 May 2024
... and trans people of color is fundamentally constrained and has seemingly done little to change the material fact of their vulnerability to violence. In this way, mainstream queer narratives’ very legibility is perhaps the clearest evidence of what Saidiya Hartman has called the “precariousness of empathy...
FIGURES
Journal Article
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
... Agamben, Homo Sacer; Giorgio Agamben, State
of Exception, trans. Kevin Attell (Chicago: University of Chicago
Press, 2005); Saidiya V. Hartman, Scenes of Subjection: Terror,
Slavery, and Self-Making in Nineteenth-Century America (New York:
Oxford University Press, 1997...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... historic critique. As Saidiya Hartman
poignantly points out, “Before Sigmund Freud detailed the sym-
bolic affinities between gold and excrement, African royals were
stockpiling their gold in privies and selling slaves for chamber pots.
(And European traders were transforming humans into waste...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 35–83.
Published: 01 May 2003
... be simply apprehended and preserved. Geoffrey
Hartman sums it up thus: “[For Benjamin,] naked truth is on the
side of excessive hope and can only be attained by not being
attained.”17 Truth, for Benjamin, as for Akerman, is always elusive,
partly hallucinatory, and utterly surreal. Akerman...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 1–31.
Published: 01 September 2021
... of Possession (Chicago: University of Chicago Press, 2004); and Saidiya V. Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (New York: Oxford University Press, 1997), 130–34. 15. Amaryah Shaye, “Blackness and Value; Part 2: On Whiteness as Credit,” Women...
FIGURES
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Journal Article
Camera Obscura (1988) 6 (1 (16)): 203–225.
Published: 01 January 1988
...; she also had
supernatural powers. A short-lived series based on the character of Tabitha, starring
Lisa Hartman, aired on CBS in the late 1970s. UCLA: 5 episodes; 1966; some
with commercials. MOB: 3 episodes; 1964 (premiere)-1972.
Big Valley, The. ABC; 1965-1969...
Journal Article
Camera Obscura (2024) 39 (2 (116)): 1–39.
Published: 01 September 2024
... American Artist, Simone Browne, Nicole Fleetwood, Che Gossett, Saidiya Hartman, Achille Mbembe, Shaka McGlotten, Fred Moten, Katherine McKittrick, and C. Riley Snorton, among many others. Their work shows how the violence of archives, enumeration, documentation, and classification is tied intimately...
FIGURES
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Journal Article
Camera Obscura (1988) 6 (1 (16)): 78–116.
Published: 01 January 1988
.... John Mollenkopf, The Contested City (Princeton: Princeton University Press,
1983), p. 111.
20. Michael Stone, "Housing the Economic Crisis," in America's Housing Crisis:
What Is to be Done?, ed. Chester Hartman, (London and New York: Routledge
and Kegan Paul...
Journal Article
Camera Obscura (2001) 15 (3 (45)): 71–113.
Published: 01 December 2001
... formed under slavery, see Saidiya
03-Slane.sh 70-113=44pg 4/18/01 4:00 PM Page 110
110 • Camera Obscura
Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in
Nineteenth-Century America (New York: Oxford University Press...
