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Journal Article
Camera Obscura (2006) 21 (3 (63)): 103–133.
Published: 01 December 2006
... 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...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 131–157.
Published: 01 May 2011
...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...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 103–123.
Published: 01 December 2013
...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...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 113–137.
Published: 01 May 2019
...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...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... in 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...
Journal Article
Camera Obscura (2019) 34 (3): 31–61.
Published: 01 December 2019
... and the private sphere of the home. These newly blurred boundaries had profound implications for postwar conceptions of gender, home, and family. Through both form and content, programs as wide-ranging as the science-fiction anthology The Twilight Zone (CBS, 1959–64) and domestic sitcoms The George Burns...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 13–29.
Published: 01 May 2019
... 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...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 139–159.
Published: 01 September 2009
...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...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
...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...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
...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...
Journal Article
Camera Obscura (2018) 33 (2 (98)): 161–195.
Published: 01 September 2018
... 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 female...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 91–97.
Published: 01 May 2019
... of 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). Chantal Akerman...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 75–89.
Published: 01 May 2019
...), 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. Chantal Akerman Georges Perec second-generation Holocaust survivor memory feminist...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
... voice in five recent games— BioShock (2007), Gone Home (2013), The Stanley Parable (2013), The Talos Principle (2014), and Firewatch (2016)—that illustrate the complicated connections between gender, games, technology, and the political. It then turns to the work of Super-giant Games, a small developer...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 145–149.
Published: 01 September 2021
... reenactment of the highly gendered role that the filmmaker Stan Brakhage cast Schneemann to play in his short experimental film Cat's Cradle (1959). It considers the way she understood home and homeland as two interlocking fronts in the ongoing battle over how gender is encoded and enacted. It concludes...
FIGURES
Image
Published: 01 May 2021
Figure 6. Still from one of Varda's Instagram videos, with photographs of Jacques Demy near the door to her home (Agnès Varda, 2017) Figure 6. Still from one of Varda's Instagram videos, with photographs of Jacques Demy near the door to her home (Agnès Varda, 2017) More
Journal Article
Camera Obscura (1988) 6 (1 (16)): 9–46.
Published: 01 January 1988
... 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...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 31–69.
Published: 01 December 2002
... 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...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 169–177.
Published: 01 January 1988
... 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...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
...” 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 relations therein.”4 The supernatural threats of these narratives, as Snelson posits, constitute a timely...