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Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
...Nick Davis This article yields three new and interlocking readings of Julie Dash's Illusions (US, 1982), a classic of black feminist cinema frequently analyzed from the intersectional standpoint of gendered and racial representation. First, I explore Dash's potent use of close-ups at key points in...
Camera Obscura (2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... realistic illusion of the cinema and disrupt the viewer's identification with the screen—especially the male spectator's—and the construction of his (or her) coherent subjectivity. This “wounding” of the cinematic apparatus leads to the traumatization of viewers, who are forced to confront what they would...
Camera Obscura (1994) 11-12 (3-1 (33-34)): 264.
Published: 01 May 1994
... and Norma Alarc6n. Third Woman Press, 1995. $12.95. Dictee by Theresa Hak Kyung Cha. Third Woman Press, 1995. $12.95. Inside the Mouse: Work and Play at Disney World by The Project on Disney. Duke University Press, 1995. $15.95. Projecting Illusion: Film...
Camera Obscura (1992) 10 (3 (30)): 139–140.
Published: 01 May 1992
.... University of Minnesota Press, 1993. $19.95. Future Visions: New Technologies of the Screen edited by Philip Hayward and Tana Woiien. Indiana University Press, 1993. $19.95. The Cinematic Body by Steven Shaviro. University of Minnesota Press, 1993. $1 8.95. The Transparent Illusion: Image and...
Camera Obscura (2014) 29 (3 (87)): 184–185.
Published: 01 December 2014
.... 149 – 83 Nick Davis The Face Is a Politics: A Close-Up View of Julie Dash’s Illusions. No. 86: pp. 149 – 83 Therese Davis Between Worlds: Indigenous Identity and Difference in the Films of Darlene Johnson. No. 85: pp. 81 – 109 Therese Davis and Belinda Smaill...
Camera Obscura (1980) 2 (2 (5)): 80–85.
Published: 01 September 1980
... negative. Since the cycle of dives is never re-cycled, completed, the overall representation becomes one of repetitive, incomplete and out of sync dives, and even begins to look like one ever-fragmented,ever-incomplete dive. In fact, the illusion feeds into Gordon’s...
Camera Obscura (1988) 6 (1 (16)): 9–46.
Published: 01 January 1988
... discourses which promised that television would connect the home to outside spaces were met by dystopian counterparts. For even if television offered a grand illusion of the outside world with its panoramic vistas and travelogue plots, it seems likely that women were critical of this illusionism, that...
Camera Obscura (1996) 13 (3 (39)): 77–103.
Published: 01 September 1996
... because each tells the story of a woman who disappears mysteriously, highlighting problems of visibility and illusion at the basic level of plot. Yet the problem of vanishing permeates these films in multiple guises, forcing a number of important questions. Why does the vanishing woman emerge with a...
Camera Obscura (1976) 1 (1 (1)): 104–126.
Published: 01 May 1976
... metaphorical relationship between places or a rela- tionship between metaphorical places, with a topography, the knowledge of which defines for both philosopher and analyst the degree of relation- ship to truth or to description, or to illusion, and the need for an ethical point-of-view. So you see, we...
Camera Obscura (1976) 1 (1 (1)): 97–103.
Published: 01 May 1976
... meaning effect is not exclusively determined by "the content of the images, but also !by! the material procedures by which an illusion of continuity, dependent on the persistence of vision is restored from discontinuous elements. These separate frames have between them differences that are...
Camera Obscura (1995) 12 (3 (36)): 155–157.
Published: 01 September 1995
.... Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema by Linda Schulte Sasse. Duke University Press, 1996. $18.95 The Movies: Texts, Receptions, Exposure edited by Laurence Goldstein and Ira Konigsberg. University of Michigan Press, 1997. $16.95. Judaism Since...
Camera Obscura (1990) 8 (3 (24)): 204–205.
Published: 01 September 1990
... It seems to me that life itself is something beyond just “meaning.” The sounds of insects, birds are heard. A weather report comes over the radio. A motorbike drives away. Street noises. Do you know what there is between “meaning” and “no meaning”? A facade, an illusion of meaning. If you...
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
... originality hearkens back to considerably more ancient problems of cinematic image and voice. Stressing the unity of sound and image, in many ways Virtual 2Pac returns us to something very traditional indeed — the illusion of liveness strived for by early film musicals. In the silent era, live...
Camera Obscura (1990) 8 (2 (23)): 70–89.
Published: 01 May 1990
... suspended a passenger carriage so that when the whole device was rotated at increasingly higher speeds, the seats swung out in a wide circle. The Haunted Swing was actually an illusion ride in which a large swing, suspended from a bar in a room, allowed seated passengers...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 116–123.
Published: 01 December 1982
... of decomposition, composes a fiction at once different and the same, uncertain not be- cause it hesitates over what road to follow, but because its road con- stantly teeters over the abyss of a spontaneous perversion of the mechanized illusion of movement. To create this new kind of...
Camera Obscura (1984) 4 (3 (12)): 126–129.
Published: 01 December 1984
... see this film as a musical describing a female quest. Making it has demanded asking the same questions during the working process as the film endeavors to ask: about the connections between gold, money and women; about the illusion of female powerlessness; about the actual...
Camera Obscura (1986) 5 (3 (15)): 110–136.
Published: 01 December 1986
... concealed within the scientist can fall back on this belief because he grants to himself the powers of a God whom he redefines at will. Edison thinks that God exists only in terms of the idea one has of him. No one knows where illusion begins or what reality consists of. Thus, God 113...
Camera Obscura (1989) 7 (2-3 (20-21)): 28–39.
Published: 01 December 1989
... the theoretical points of this research: If cinema does construct a phantasm, the product of the male gaze focussed on the female body, what remains unclear, for obvious reasons, is why women should cling to that look: “she feels at home in her illusion...
Camera Obscura (2006) 21 (1 (61)): 27–31.
Published: 01 May 2006
... conﬁgurations, enunciative strategies, and desiring constructions, the activity of analysis itself was already rooted in a socially critical perspective. That ﬁlm theory had devel- oped in the deceptive illusion of gender neutrality made the asser- tion of feminism imperative; that feminism had been...
Camera Obscura (2009) 24 (1 (70)): 1–5.
Published: 01 May 2009
... through literacy to the negatives that make up photography’s evi- dentiary archives, from the shaded imitations and impersonations of theatrical performativity to the shadows of cinematic illusion- ism, from TV in “black and white” and then in “living color” to digital dreams of recombination and...