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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
...Kathleen Collins First appearing on the air in 1947, Dione Lucas was one of the earliest television cooking-show hosts. As a business owner, single mother, influential salesperson, and highly respected professional in her field (Julia Child referred to Lucas as “the mother of French cooking in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 159–167.
Published: 01 December 2012
... university settings, where it has students organize, market, and host the event. This essay examines the issues attendant with bringing LUNAFEST onto college campuses. On the one hand, LUNAFEST encourages and supports the exhibition of women filmmakers, a laudable endeavor. On the other hand, as a corporate...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 169–179.
Published: 01 December 2012
...Gerda Johanna Cammaer The small Belgian coastal town of Knokke-le-Zoute once was the scene for one of the most impressive gatherings of the international film avant-garde, when it hosted the last three editions of the illustrious EXPRMNTL film festival (1963, 1967, and 1974). This article focuses...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... the intentions of collaborative partners or the institutions hosting them, shared labor opens ways to contend with difference as creative material and not just as that which opposes normality. The author considers a number of artists' groups, projects, and collaborative methods in which the subject...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 65–91.
Published: 01 May 2016
... a return to its former unmediated status. By contrast, Her moves beyond the notion of prosthesis, bringing into focus human-machine intimacies wherein the human serves as host or a surrogate womb to the emerging technological object. In Her , technology is seen as an immaterial parasite while human...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 1–27.
Published: 01 May 2010
... Hitch- cock’s terrible and singular hosts — the Nazi mother in Notorious (US, 1946), Brandon Shaw in Rope (US, 1948), Phillip Vandamm in North by Northwest (US, 1959), and the surprisingly polite Nor- man Bates in Psycho (US, 1960) — as well as a gallery of less individ- uated bad guests...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1996) 13 (2 (38)): 29–59.
Published: 01 May 1996
.... Initially a fashion model, Xuxa (pro- nounced "shoo-sha") began in 1983 at age 20 to host a children's show on Manchete, then the third largest of four Brazilian television networks. In 1986, she moved to host an expanded daily show on the largest, Globo (TV Globo). With that shift to what has been...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
... but appears on-screen via parallel editing. Moreover, there is no direct address to the camera or the audience from the expert. These differences mean that the hosts of Little Angels cannot easily achieve the type of celebrity that has been bestowed on the Supernanny Frost. In Little...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 12–41.
Published: 01 May 1994
... in the standard histories is the phenomenon of daytime talk shows for women. As Michele Hilmes’s research on the daytime host Mary Margaret McBride demonstrates, daytime radio also included talk shows organized around a host who often rose to celebrity status.8 Talk...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 42–75.
Published: 01 May 1994
... white) bodies of actresses in the twenty-to-forty-something range; and “she” hosts programs on topics considered important to women and their families. Most of all, through publicity campaigns and in original programming credits for actresses, directors, and writers...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2002) 17 (3 (51)): 31–69.
Published: 01 December 2002
... television network in 1949, and she hosted the program until her retire- ment in 1967. Arlene Francis, a radio, stage, and screen actress based in New York City, starred in a number of television shows in the industry’s earliest days, gaining national recognition as a reg- ular panelist on CBS’s popular...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
... part of her current book-length project, “Quality Drama from ER to Smash .” © 2015 by Camera Obscura 2015 reality TV quality TV Bravo The Real Housewives of New York City Rachel Zoe Figure 1. Jeff Lewis guests on the only talk show hosted by a network executive, Andy Cohen’s...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 131–138.
Published: 01 September 2011
.... In 2007, Killa replaced her vid download page with a notice that vids were “no longer hosted at this location,” explaining: “I’ve removed them for the sake of my own sanity, after several incidents in 2006 made me question whether continuing to host vids online was worth the anxiety levels...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 139–146.
Published: 01 September 2011
... 1970s. As Coppa and Rebecca Tushnet discuss in their piece in this dossier, online vids are vulnerable to erasure on account of their use of copyrighted material. Hosting sites like YouTube and Vimeo Camera Obscura 77, Volume 26, Number 2 doi 10.1215/02705346-­1301575  © 2011 by...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 184–193.
Published: 01 May 2008
... the center of elaborate protocols of hosting, visiting, and debate. Such a call, always performed by women, acts as a recognition of visitor by host and establishes spiri- tual and physical dialogue; a response is expected. As soon as the karanga rang out, Georgina turned on her heel to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
... of the variety show, the TV show host. The illusion of "cenreredness" which the classical codes had insured, mobilizing individual desire through elaborate fantasy scenarios, had been substituted in the television setting by a complex organization composed of anonymous institutions which "made it...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
... father and became a stripper, then made a sex tape with an athlete and then became a reality star.”3 Rae’s facetious definition is funny because it is hyperexcessive. This is not unintentional where ratchetness is concerned. Radio host Charlamagne Tha God also tries to articulate the parameters...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 180–198.
Published: 01 May 1997
... to be the general consensus in stories and reports of alien abduction that the aliens’ motive for visiting the earth lies in their search for “fluids” to help their dying race.16 In Independence Day, for example, the intruders have drained the resources of their former host planet and are...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 142–147.
Published: 01 December 1989
... and exceed intentionality. Nevertheless, publication seems inevitably to imply fixation and an excess of identity. I (and a host of others I’m sure) have been startled by the rapidity with which an essay that involved long and difficult thinking and rethinking is...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 204–209.
Published: 01 December 1989
... identification through commodification. Thus, I currently pursue the spectator as a point of address of institutional practices. Such a context based approach, while it is ca- pable of embracing a host of institutional and mass cultural deter- minants on reception, does...