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Journal Article
Camera Obscura (2004) 19 (3 (57)): 1–21.
Published: 01 December 2004
... in the cinema, psychoanalytic theory, television, and sexual and racial difference in film. Jonathan Rhys-Meyers as Brian Slade/Maxwell Demon in
Velvet Goldmine (UK/US, 1998). Courtesy Miramax
Pathos and Pathology:
The Cinema of Todd Haynes
Mary Ann Doane
Because infinity—for the eye—begins...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 23–55.
Published: 01 December 2004
... and anthologies on feminist filmmaking, stardom, and television and film history. Superstar: The Karen Carpenter Story (US, 1987)
The Incredible Shrinking Star:
Todd Haynes and the Case History
of Karen Carpenter
Mary Desjardins
Critics have consistently characterized the films of Todd Haynes...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 131–175.
Published: 01 December 2003
...: Writing on the Body , and High Contrast: Race and Gender in Contemporary Hollywood Film . This essay is drawn from a chapter of the book she is completing on representations of the civil rights movement in narrative film from 1949 to the present. Julianne Moore and Dennis Haysbert in Todd Haynes’s...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... and family life across time through the prism of feminist and queer cultural production and critique. Daldry's film is treated as a dense and fascinating work in itself, but it is also read against a small but influential cycle of recent queer-authored melodramas: Far from Heaven (dir. Todd Haynes, US, 2002...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... in Superstar: The Karen Carpen-
ter Story (dir. Todd Haynes, US, 1987), a forty-three-minute 16mm
film that uses dolls to portray sibling supergroup the Carpenters’
rise to fame and singer Karen Carpenter’s struggle with anorexia.
Since 1989, the film has been forced out of legitimate distribu-
tion...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 157–185.
Published: 01 December 2004
... characterize as postmod-
ern. I demonstrate the way this form of history takes shape in con-
temporary cinema through a discussion of films by directors as
diverse as Claude Lanzmann, Atom Egoyan, and Todd Haynes. I
argue that at least some works of contemporary popular culture...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 125–155.
Published: 01 December 2004
..., and not
through its form.
—Todd Haynes
No matter how much we desire, with Susan Sontag, to resist
treating illness as metaphor, illness is metaphor.
—Paula A. Treichler, How to Have Theory in an Epidemic
Released in 1995, Safe (US/UK) seems in many ways radically dif-
ferent from Todd Haynes’s...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 187–219.
Published: 01 December 2004
... in which the listing encouraged me to recon-
sider assumptions about what might operate as a legitimate in-
tellectual pursuit and how that operation occurs, specifically in
regard to the media and consumer pursuits both representative
of and represented within Todd Haynes’s melodrama Far from
Heaven...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 93–123.
Published: 01 December 2004
..., Transgression,
and Impossible Mourning in
Poison and Safe
Laura Christian
In the opening sequence of Velvet Goldmine (dir. Todd Haynes,
UK/US, 1998), future glam-rock trendsetter Jack Fairy stands in
front of a mirror and, having been brutalized earlier by a pack of
schoolyard bullies...
Journal Article
Camera Obscura (2004) 19 (1 (55)): iii–np.
Published: 01 May 2004
... “The Politics of Disappointment: Todd
Haynes Rewrites Douglas Sirk,” Camera Obscura 54, all of the images from
Todd Haynes’s Far from Heaven (US/France, 2002) appear courtesy of Focus
Features. ...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 165–171.
Published: 01 May 2008
...; it brags of its dependence on accessories.
Glam rock, for instance, is explicitly defined against the “natural”
androgyny of hippie culture. Velvet Goldmine’s (dir. Todd Haynes,
UK/US, 1998) dandy diva is born only after the folk musician
Brian Slade (Jonathan Rhys Meyers) abandons...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 31–71.
Published: 01 May 2002
... of A Healthy Baby Girl (1996) and the Academy Award-winning documentary Defending Our Lives (1993). “Pictures of their Voices”: Victoria Spivey and
Daniel Haynes look at a sound track of their voices in
Metro-Goldwyn-Mayer’s Hallelujah! [original text of
studio credit]. Courtesy Museum of Modern...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
...
her original position, at least in regard to the cinema of Todd
Haynes, allowing for a kind of intelligent pathos consistent
with my argument here. This revision, or complication, of
her position on pathos is indebted to queer film scholarship;
Haynes’s aesthetics...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 25–59.
Published: 01 December 2007
...-
lution Freud constructs for his female beating patients and replaces
his male authorial voice with hers.16 In UnInvited: Classical Hollywood
Cinema and Lesbian Representability, White recognizes a subversive
rewriting of the beating scenario in Todd Haynes’s short filmDottie
Gets Spanked (US...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 25–59.
Published: 01 September 2012
...
– Jonathan Haynes, “Video Boom: Nigeria and Ghana,”
Postcolonial Text , no. postcolonial.org/index.php/pct/
issue/viewshowToc; Pierre Barrot, ed., Nollywood: The Video
Phenomenon in Nigeria, trans. Lynn Taylor (Bloomington: Indiana
University Press, and Jonathan Haynes...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
.... Thomas Lewis
ple, in the coexistence of hard-core, soft-core, adult art-house, and
“mature” Hollywood releases.9
Considered a Far from Heaven (dir. Todd Haynes, US, 2002)
for the sexploitation cinephile,10 Viva’s meticulous reconstruction
evokes the swinger film subgenre...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 76–87.
Published: 01 September 1991
... seen most of the good ones
in New York, like Poison (Todd Haynes), Privilege (Yvonne Rainer),
Paris Is Burning (Jennie Livingston), I Hired a Contract Killer (Aki
Kaurismaki). These films ask questions: about politics, about sexuality,
about storytelling, about looking...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
...
to be associated with New Queer Cinema appropriate and cite
historical forms of popular cinema, especially Hollywood, both
explicitly and implicitly. While many of these works, such as Todd
Haynes’s Poison (US, 1991), usurp the stylistic and generic con-
ventions of popular film, others, such as Cheryl Dunye’s...
Journal Article
Camera Obscura (2024) 39 (3 (117)): 121–147.
Published: 01 December 2024
... see this in how Riot retorques the generic twentieth-century trope of television-watching and queer self-recognition. The best filmic version I know—one whose historical period happens to coincide exactly with the beginning of Riot , 1972—is the one in Velvet Goldmine (dir. Todd Haynes, US, 1998...
FIGURES
Journal Article
Camera Obscura (2012) 27 (3 (81)): 39–67.
Published: 01 December 2012
...,
and in what combination.
Notes
This paper is dedicated to C. Labarthe. Thanks to Bob Rehak,
Jonathan Haynes, and the editorial collective of Camera Obscura for
their comments on this paper as it evolved; thanks also to Tabitha
Lahr for processing the frame grabs. Previous versions...
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