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Camera Obscura (2001) 15 (3 (45)): 151–193.
Published: 01 December 2001
... Christian culture. 05-Hendershot.sh 150-193 =44pg 4/18/01 4:02 PM Page 150 05-Hendershot.sh 150-193 =44pg 4/18/01 4:02 PM Page 151 Holiness Codes and Holy Homosexuals: Interpreting Gay and Lesbian Christian Subculture...
Camera Obscura (2005) 20 (1 (58)): 149–183.
Published: 01 May 2005
... in The Manchurian Candidate (dir. John Frankenheimer, US, 1962) Of Red Queens and Garden Clubs: The Manchurian Candidate, Cold War Paranoia, and the Historicity of the Homosexual Kevin Ohi In Schreber’s system, the two principal elements of his delusion (his transformation into a woman and his...
Camera Obscura (2013) 28 (3 (84)): 125–157.
Published: 01 December 2013
... Hollywood musical, Vallois creates a cinematic experience that merges historical film aesthetics with the late 1960s and early 1970s homosexual movement unfolding in France. Through a self-conscious film-within-a-film narrative, Johan provocatively commingles several genre forms (documentary, the musical...
Camera Obscura (2017) 32 (3 (96)): 63–91.
Published: 01 December 2017
... homosexuality that it evidences, it simultaneously renders race invisible. The figure of Truman Capote thus becomes a kind of historical shorthand for the nexus of whiteness, male homosexuality, and effeminacy. In other words, the depiction of Capote’s midcentury gay effeminacy in Infamous functions...
Camera Obscura (2012) 27 (2 (80)): 155–160.
Published: 01 September 2012
...Omar Kholeif In this piece I address the construction of male homosexuality in Eytan Fox's The Bubble (Israel, 2006) in contrast with its presentation in the artist Sharif Waked's short film, Chic Point (Palestine, 2003). Examining the tensions between Palestinian and Israeli masculinity...
Camera Obscura (2017) 32 (3 (96)): 1–31.
Published: 01 December 2017
...Tison Pugh Despite the progressive ambitions announced in its title, the sitcom Modern Family (ABC, 2009–) has been excoriated by many viewers for its purported conservatism and reactionary politics. In particular, the program’s treatment of homosexuality, evident in the story line of gay couple...
Camera Obscura (2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
... within musical performance functions as a likely origin for the murderous rage of the film's antagonist, Frank Booth (Dennis Hopper). Frank tries, via mimicry, to displace intimations of homosexuality that arise within musical performance. But the film suggests that mimicry is likely to fail...
Camera Obscura (2010) 25 (1 (73)): 97–129.
Published: 01 May 2010
... masculine performance space was challenged both by the development of a clearer heterosexual/homosexual cultural binary and by the instability of patriarchal structures during the first half of the twentieth century. As such, a queering of fraternity materializes in many Laurel and Hardy films...
Camera Obscura (2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
... for homosexuality in the Chinese diaspora. The four videos ( Myth(s) of Creation, Mother/Land, Movements East-West , and [os] ) that make up Xin Lu: A Travelogue in Four Parts combine memoir with a meditation on the discursive construction of travel narratives. Building on Ma's earlier work ( Toc Storee and Slanted...
Camera Obscura (2014) 29 (2 (86)): 119–147.
Published: 01 September 2014
..., in the words of Judith Butler, as “ungrievable and unacknowledged losses.” Same-sex desire becomes “an affair to forget.” In the bromance Superbad (dir. Greg Mottola, US, 2007), however, homosexual possibility comes to the fore, so that melancholia actually turns into mourning for the lost male object...
Camera Obscura (2014) 29 (3 (87)): 117–147.
Published: 01 December 2014
... contemporary sociocultural notions about marriage, which receives its most charged expression in the film's figuration of femininity (the femme fatale) and homosexuality (the queer “commie”). Just as Diego Rivera's painting The Flower Carrier (1935) illustrates the ideological ambiguity of The Woman on Pier 13...
Camera Obscura (1992) 10 (3 (30)): 34–49.
Published: 01 May 1992
... that. Alfred Hitchcock, Rope. Like other forms of Western art, narrative film is populated by homo- sexual texts, closeted texts that dissemble or deny their sexual prefer- ence. Historically lacking a discourse of its own, the homosexual text has had to conceal itself within a permissible...
Camera Obscura (1995) 12 (2 (35)): 86–105.
Published: 01 May 1995
... of homosexuality in three of the most famous mainstream films dealing centrally with the subject that appear in the United States toward the end of the Code era.' Not simply another pejorative representation of an already much maligned behavior, libel, slander, and gossip actively signal the presence...
Camera Obscura (1996) 13 (1 (37)): 31–68.
Published: 01 January 1996
... a marked resemblance to those articulated by Freud in his trajectory of "normal" sexual development: autoerotic, narcissistic, homosexual, heterosexual. Within this continuum, Freud believed women-at least the "purest and truest" women-to be fixated at the narcissistic stage...
Camera Obscura (2000) 15 (2 (44)): 1–39.
Published: 01 September 2000
... a good many laughs; however, particular crises of het- erosexuality drive these narratives. Within the Comedy Wave, I will explore extensively how homosexuality provides the “happy ends” to the narratives, ends in both senses of the word. Here gay men take...
Camera Obscura (1992) 10 (1 (28)): 78–99.
Published: 01 January 1992
... and local homosexualities.4 Such activism has three direct consequences for feminist theory. First, it gives us a new appreciation for “cultural feminism,” which I claim is the proper name for the apparatus through which feminist culture is produced. I mean here to disentangle...
Camera Obscura (2004) 19 (1 (55)): 113–149.
Published: 01 May 2004
... Beauty endorses the importance of maintaining the mediating effects of Other- ness in the father/daughter plot and for heterosexual relations, the ﬁlm refuses to uphold the value of Symbolic castration for homoerotic and homosexual relations. Speciﬁcally, with respect to the father/son relation...
Camera Obscura (2005) 20 (2 (59)): 165–195.
Published: 01 September 2005
... that “the moment of acknowledging to oneself homosexual desires and feelings . . . and then licensing oneself to act . . . is the central drama of the homosexual self.” That “moment of self- classification,” he explains, “is an emergency—sublime, horrible, wonderful—in the life of anyone who must...
Camera Obscura (1991) 9 (1-2 (25-26)): 125–143.
Published: 01 September 1991
... commentators even begin to consider the specifically queer gender dynamics centered around Pee-wee/Paul Reu- bens.l Bryan Bruce, in ‘‘Pee Wee Herman: The Homosexual Subtext,” is right on the money when he says “The most exciting aspect of Pee Wee Herman, so far, remains his role as vindicator...
Camera Obscura (2003) 18 (1 (52)): 1–33.
Published: 01 May 2003
..., to connect lack exclusively to the feminine and, on the other, to link male homosexuality and effeminacy in order to shore up a not-so-clear distinction between homosexual and heterosexual masculinities. In reading the display of the male body as effeminate and applica- ble only to the gay male, while...