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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1992) 10 (1 (28)): 20–77.
Published: 01 January 1992
... identity “may be thought of as the problem of trying to give a true explanation of those features of the world which account for its sameness, on the one hand, and for its diversity and change, on the iffidties about identity lie at the heart of a vast corpus of seemingly unrelated...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1995) 12 (2 (35)): 24–51.
Published: 01 May 1995
...Amy Zilliax Copyright © 1995 by Indiana University Press 1995 The Scorpion and the Frog: Agency and Identity in Neil Jordan's The Crying Game Amy Zilliax There's two kinds of people: those who give and those who take Two...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2000) 15 (2 (44)): 41–73.
Published: 01 September 2000
...=34pgs 1/25/01 1:44 PM Page 41 Consuming the Other: Identity, Alterity, and Contemporary German Cinema Lutz Koepnick Dominant Western conceptions of identity are inextricably bound up with the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... and racial identity in the television program 24 . Facial recognition systems (FRSs), in particular, participate in earlier visual discourses of privileged facial imaging such as the close-up and the mug shot, and link them with forms of machine envisioning such as automated rapid facial comparison...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 40–65.
Published: 01 December 1984
...Meaghan Morris © 1984 by Camera Obscura 1984 Identity Anecdotes Meughuz Mom> Identity: “Inside and outside and identity is a great bother. ’ ’ Gertrude Stein, Everybody ’r Autobiography Anecdote...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 177–183.
Published: 01 December 2016
...Elisa Giardina Papa; Nupur Mathur; Bathsheba Okwenje This article features an interview with the artist Radha May, a global, artist collective working under a single female identity. Radha May, whose members come from India, Italy, and Uganda, talks about merging three different perspectives and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
... Cinema , and Interventions . She is head of film and television studies at Monash University. © 2014 by Camera Obscura 2014 Figure 1. Darlene Johnson, writer and director, Crocodile Dreaming (Australia, 2006) Between Worlds: Indigenous Identity and Difference in the Films of Darlene...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
... published on horror video games, science fiction television, and representations of dominant identity in popular culture. Children's Media and Modernity: Film, Television and Digital Games , a monograph based on Ewan's PhD dissertation, is due for publication by Peter Lang later this year. © 2017 by...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
...Peter X Feng Asian diasporic identities exist in a complicated tension with Asian nationalist identity formations, simultaneously affirming and disavowing the nation-state as constitutive of identity. Video maker Ming-Yuen S. Ma's work focuses on problematics of translation as a metaphor for...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 103–139.
Published: 01 September 2008
... speech, that the surge of weeping men in recent Israeli films–men who discuss their inability to cry or to stop crying, who parade their tears–might be read as an attempt by Israeli mainstream entertainment to deal with Israeli society's infatuation with victimhood and its tendency to conflate identity...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 155–160.
Published: 01 September 2012
... life of a stranger. The forced and unpredictable movement of individuals from the now depopulated Palestinian towns, villages, and holy sites into refugee camps and diasporas evidences the queering of modern Palestinian identity in this sense. The emotion or impression that one is a perpetual stranger...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 1–33.
Published: 01 December 2008
...Anna Ball One of the many astonishing traits of Palestinian cinema is the way in which it has embraced the complex relationship between gender and nation as a central concern in its filmmaking. This article explores the ways in which gendered and national identity are negotiated and refigured in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
... assured, aggressive, and unexamined machismo. The series' protagonists are instead nondescript, flawed, domesticated men—unstable, angst-ridden, and unreliable in a manner that interrogates the dominant mode of masculine gameplay. The problematic nature of video-game interactivity and identity, the extent...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 97–129.
Published: 01 May 2010
... to have known all long: Laurel and Hardy prove relevant as long as fraternal myths define a US male identity. Camera Obscura 2010 Scott Balcerzak is an assistant professor of film and literature in the Department of English at Northern Illinois University. He is the coeditor of Cinephilia...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 1–31.
Published: 01 September 2011
.... And so the designation of “screen test” engenders an identity for the film that situates its formal indeterminancy as its most critical feature. This analysis of Portrait of Jason necessarily examines the particular intersections of documentary cinema, gender/sexuality, spectatorship, and textual...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 1–33.
Published: 01 December 2011
...Heidi Brevik-Zender Sofia Coppola's film Marie Antoinette (US, 2006) is about fashion and the construction of feminine identity — but not those of ancien-régime France. Rather, it is a modern consideration of contemporary sartorial networks that reflects an ironic twenty-first-century attitude that...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 165–175.
Published: 01 September 2012
... impact of neoliberalism on current queer politics, the piece winds its way toward a suturing of queer identity and questions of nation. elle flanders is a filmmaker and artist based in Toronto. She was raised in Montreal and Jerusalem and holds both an MA in critical theory and an MFA from...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 137–147.
Published: 01 December 2012
... that support experimental art practices. However, one surprising continuity emerged in discussion at the 2010 congress: namely, the still fraught question of what constitutes adequate representation of minority voices. Despite the widespread tendency to assume that identity politics and representation...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
... piece articulates some of the core values expressed when WMM was founded — values like community, feminist activism, access, and support — and suggests that these values established important precedents for WMM's institutional identity. This historical overview also shows how WMM's community workshops...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 103–123.
Published: 01 December 2013
... visual possibilities of the graphic genre. Mapping Bechdel's coming-of-age story as a narrative about coming to see, this article traces the importance of vision in young Alison's gender identity, her relationship to her father, and her ability to posthumously “see” her father through family photographs...