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housewife

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
...Anne McKnight This essay considers how ideas about liberation flourished in Japanese sex films in the 1970s by exploring the genre of the housewife film as it traverses industrial contexts. Liberation was abandoned by melancholic male intellectuals after the 1970 failure to halt Japan's military...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 33–63.
Published: 01 December 2014
...Matt Delmont This essay examines how housewife and political activist Irene McCabe drew national television news coverage to protests against busing for school desegregation. While thousands of parents across the nation raised their voices against busing, none received the same level of national...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 181–183.
Published: 01 December 2012
... McKnight The Wages of Affluence: The High-Rise­ Housewife in Japanese Sex Films. No. 79: pp. 1 – 29 Raya Morag Perpetrator Trauma and Current Israeli Documentary Cinema. No. 80: pp. 93 – 133 Roya Rastegar Evolving Narrative Structures Forge New Cine-Love­ at the 2012...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1996) 13 (3 (39)): 126–150.
Published: 01 September 1996
... had any man, but that she chose one who seemed to lack direction. Fulfilling her role as housewife, Bonnie proceeded to bear five children (in the book there are six) and pre- sumably to maintain the bourgeois ideal of a proper home. The hus- band, however, disrupted...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... viewers in the s would likely have been unwilling or unable to replicate them. She did not address the issue of time, however, and was catering neither to the busy housewife nor to the growing ranks of women working outside the home. Watching Dione Lucas today, a viewer might succumb to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... 1950s housewife who cannot muster the energy to get out of bed, the 1920s melancholic woman confined to bed on doctor’s orders, or the solicitous husband who anxiously monitors his wife’s physical and mental state. Christine Gledhill argues that Hollywood melodrama has operated as an...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 154–168.
Published: 01 January 1988
... occasionally raise fears and anxieties about inadequacy, which in early television were sometimes allayed by consumer choices and the acquisition of commodities." Still, the family existed as the site of reception coterminous with the site of dramatic action, and the emphasis on the housewife role meant...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
... falling out with best friend and fellow housewife Jill Zarin in season 4. The women had gone on holiday together the previous season and had a variety of searing confrontations during the trip. We had witnessed their closeness during the first three seasons, so their breakup was traumatic. In...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2002) 17 (3 (51)): 31–69.
Published: 01 December 2002
... six weeks and, as she grew older, became a frequent guest on the television show. Lyons’s relationship with her daughter, on whom she doted both publicly and privately, 36 • Camera Obscura reinforced Lyons’s popular reputation as an “ordinary housewife” who just happened to do radio shows, an...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
... stars appear to be "homebodies." By deem• phasizing class distinctions, representations of Hollywood stars in fan and mass circulation magazines during the forties and increasingly during the fifties served a therapeutic function, helping the housewife or working woman overcome...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 9–46.
Published: 01 January 1988
... nineteenth century. In their widely read book of 1869, The American Woman's Home, Catherine Beecher and Harriet Beecher Stowe suggested, for example, that the thrifty Victorian housewife might fashion a "rustic [picture] frame made of branches and garnish the corners with a cluster...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2004) 19 (3 (57)): 1–21.
Published: 01 December 2004
... Safe, all the spaces of suburbia are nonplaces. Emptied of human contact and of events endowed with significance, the concept of space itself becomes heavy, overpresent. There are multiple ways in which Safe resembles Chantal Akerman’s portrait of a housewife in Jeanne Dielman, but preemi...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
... adaptation of The Sun Also Rises (dir. Henry King, US, 21 A suburban housewife was certainly less glamor- ous than a single, stunningly dressed Eurasian doctor, yet Jones may also have been seduced by the salary for Gray Flan- nel Suit, the book’s best-seller status, and Wilson’s more developed...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 76–87.
Published: 01 September 1991
... building on Grosse Hamburger Street, and each can imagine a Jewish or non-Jewish baker or doctor or housewife or child. The few who saw the vitrines in the west and those who knew the families of the inhabitants will have specific information, but each viewer will create his or her own scenario...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1985) 5 (1-2 (13-14)): 215–234.
Published: 01 September 1985
.... 83). In addition to emphasizing their radical edge, Modleski stresses the sense of the uncanny in gothics. Modleski’s analysis of soap operas is most concerned with the everyday context of reception, specifically that of the housewife. As opposed to the classical...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1986) 5 (3 (15)): 36–65.
Published: 01 December 1986
... reversal in value in its transformation from a woman into an electronic robot. Near the end of the film, we watch Cindy, amazed and aghast (“That’s me as she sees herself on a video monitor transformed into an ordinary, young (electronic) housewife in a commercial for “New Formula Blast.” Her...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 203–225.
Published: 01 January 1988
...• 1966; some with commercials. MOB: 5 episodes; 1961-1966. We: 1 episode; 1961. Donna Reed Show, The. ABC; 1958-1966. Film star Donna Reed plays housewife Donna Stone in this long-running sit-com which features Carl Betz as her doctor husband and Paul Peterson...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1983) 4 (2 (11)): 132–145.
Published: 01 September 1983
... usually end up: the conventional role of housewife and mother. Her reality leaves no room for dreams about breaking through the limitations set by society just as the language of her diary exhausts itself in cliches and kitsch. 138 CLAUDIA HOLLDACK (See Camera Obscura, no. 6.) FILMS...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 103–133.
Published: 01 December 2006
... when they could be thought of in terms of accurate measurement and values” (149). For the wife and mother without a laboratory, Gilbreth sug- gested visualization exercises in which the motion-picture camera appeared to be present in the home, recording her activities. For the housewife...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
..., venetian blinds casting gentle Tech- nicolor shadows across the actors’ bodies) fits into what we now consider a film noir schema, while the second segment of the film in New Mexico fits into the category of the western. It becomes a woman’s picture when Ellen plays housewife, and it returns...