...Brenda Longfellow Chantal Akerman’s last film, No Home Movie (Belgium/ France, 2015), a film that is now impossibly freighted with the news of her suicide, provides a poignant reflection on many of the themes and formal strategies that Akerman has employed throughout her storied career. Shot by...

... University Libraries Archives and Special Collections Picture This: Lillian Gilbreth’s Industrial Cinema for the Home Nicholas Sammond Introduction: The Mother’s Gaze What are the prosthetics of a mother’s loving gaze, and what is their history? Long before the NannyCam invaded the...

...Irene Gedalof Where do spaces of the home figure in contemporary studies of transnational, migrant, and diasporic cinema? According to Hamid Naficy, “accented,” exilic, and diasporic cinema primarily evokes a state of “permanent deterritorialization,” producing cinematic languages of discontinuity...

...Sam McBean Alison Bechdel's autobiographical graphic novel, Fun Home (2006), intricately weaves together the author's coming-out story with her family's history, particularly the story of her father's closeted queer sexuality and possible suicide. In its exploration of family history, queer desires...

... America”), Lucas was a pioneer and potentially powerful role model. Given this profile, however, she was an anachronism and out of sync with the majority of contemporary women and home cooks. She was likewise out of sync with her television peers, as most homemaking programs were hosted by home economists...

... together, from shooting the stage performance of Letters Home in 1986 to the process of combining images and sounds in Akerman’s final works, the film No Home Movie (France/Belgium) and the multichannel installation piece Now , both 2015. Works mentioned include D’Est ( From the East , France/Belgium, 1993...

...Jinying Li This article examines the Folk Memory Project, a collective documentary initiative in China that organized young filmmakers to return to their home villages to interview elders and unearth silenced memories of the devastating Chinese Great Famine of 1959–61. Focusing on two films...

... and publicity that surrounded Tierney’s transformation. It argues that her shifting star image accommodated the different conceptions of the Laura character both at diegetic and extradiegetic levels, but made haute couture beauty accessible to the home front by concealing an ornamental process of...

..., 1975), and the particularities of films from News from Home (France/Belgium, 1976) to Almayer’s Folly (France/Belgium, 2011), the piece finds Akerman’s memory as much in vivid quotidian images as in her indelible artistic contributions. Copyright © 2019 Camera Obscura 2019 Chantal Akerman...

... working, especially on documentary and installation pieces; her preference for frontal shots; her lack of interest in rules, realism, and character psychology; and her humor. The tribute closes with the filmmaker’s own words on her last film, No Home Movie (Belgium/France, 2015). Copyright © 2019 Camera...

...K K Seet The rarely analyzed Asian horror film, which has had great impact on international film audiences recently as a result of Hollywood remakes, is increasingly mired in the milieu of home and hearth, leading to a new Asian variation of the domestic gothic. With specific reference to Japan's...

...J. E. Smyth Although The Man in the Gray Flannel Suit (dir. Nunnally Johnson, US, 1956) ostensibly focuses on Tom Rath (Gregory Peck), the production of the screenplay and shooting largely revolved around actress Jennifer Jones's characterization of Betsy Rath, a stay-at-home wife and mother with...

... more than half of all American homes installed a television set and the basic mechanisms of the network oligopoly were set in motion. Historical studies have concentrated upon the latter half of this problem. That is to say, the history of television has been conceived primarily as a history of the...

... primetime quiz show What’s My Line? in 1950. In 1954, she was selected to anchor NBC’s ambi- tious daytime show Home. Both women acquired prestige and clout within these separate daytime spheres—Lyons in the luc- rative TV cities of Cincinnati, Dayton, Columbus, and later Indianapolis, and Francis in...

... Simpson's (editor), Parents Talking Television (London: Comedia, 1987) Andrew Ross Everyone, I think, knows what Andy Warhol meant when he said that "a whole day of life is like a whole day of television." Instant recognition of a home truth. That is what Pop philosophy aims for, and it is...

... Indians called the piece of land Narriockh, after a tribe living in the area, a name said to mean “the point of land without shadows.” Coney Island, home of the Cyclone, the Para- chute Jump, Steeplechase Park, the Wonder Wheel. My parents and their friends tell me stories about Luna Park. We...

... Freud Housing collections of past experiences, shoring against that which is perpetually evanescent, the memory is an archive. One of the many things I have collected in mine over the years is a series of repeated viewings of, or returns to, the home movies lodged at the Freud Museum in...

... recent US subprime mortgage crisis.3 Tim Snelson, for one, argues that the ongoing “morbid fascination” of media industries and audiences with supernatural narratives involving embattled homes “resonates with the reality of many recession-­era house- holds and particularly the gendered power...

.... Media and Performance : Along the Border by Johannes Birringer. Johns Hopkins UP, 1998. Home Movies and Other Necessary Fictions by Michelle Citron. U of Minne- sota P, 1998. ldeology and Inscription: “Cultural Studies ” after Benjamin, de Man, and Bakhtin by Tom Cohen. Cambridge UP...

... contradictory feelings about the rural or colonized past, which is at once idealized and resented. These latter works include not only those films about diasporas, exiles, and emigration to the West, and about "home" visits to China, but also those films in which a particular form of traditional art (such...