1-20 of 83 Search Results for

immersive work

Save search
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Article

Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist

Emily Watlington
Camera Obscura (2022) 37 (1 (109)): 91–113.
DOI: https://doi.org/10.1215/02705346-9561437
Published: 01 May 2022
...Emily Watlington Abstract This article considers the often‐overlooked role that disgusting imagery plays in the work of Swiss video artist Pipilotti Rist. In immersive installations and in single‐channel videos, Rist updates abject feminist performance art of the 1960s and 1970s for a media...
FIGURES
View article PDF
Journal Article

NOW , Chantal Akerman’s Last Work

Babette Mangolte
Camera Obscura (2019) 34 (1 (100)): 67–73.
DOI: https://doi.org/10.1215/02705346-7264094
Published: 01 May 2019
... as sensations. Copyright © 2019 Camera Obscura 2019 Chantal Akerman spectatorship and installation creative concept opposing sound and image immersive work global culture ...
View article PDF
Journal Article

Written on the Screen: Mediation and Immersion in Far from Heaven

Lynne Joyrich
Camera Obscura (2004) 19 (3 (57)): 187–219.
DOI: https://doi.org/10.1215/02705346-19-3_57-187
Published: 01 December 2004
... and Immersion in Far from Heaven Lynne Joyrich Recently, while engaging in one of my favorite forms of procrasti- nation—using my computer to search for mid-century modern bargains on eBay rather than using it to engage in more rigorous, or at least more legitimated, intellectual pursuits—I...
View article PDF
Journal Article

Small Effects from Big Causes: The Dialogic Documentary Practice of Natalie Bookchin

Zoë Druick
Camera Obscura (2016) 31 (2 (92)): 1–25.
DOI: https://doi.org/10.1215/02705346-3592466
Published: 01 September 2016
... work may be said to document the social relations that digital platforms and social media enabled at a particular his- torical moment. In addition, the pieces utilize the formal capacities of immersive media, particularly sound, to recalibrate the kinds of political engagement usually pursued...
View article PDF
Journal Article

Bodies in Water: Disability Cinemas and Creatures of the Sea

Emma Ben Ayoun
Camera Obscura (2022) 37 (3 (111)): 115–143.
DOI: https://doi.org/10.1215/02705346-10013646
Published: 01 December 2022
.... Stephanie, in Audiard's film, has both her legs amputated after an accident at her job training orca whales. The mute Eliza, in del Toro's, falls in love with an amphibian creature held captive in the laboratory where she works as a cleaner. Why these invocations of the sea and its creatures? What makes...
FIGURES | View All (4)
View article PDF
Journal Article

A New Form for a New People: Forugh Farrokhzad's The House Is Black

Sara Saljoughi
Camera Obscura (2017) 32 (1 (94)): 1–31.
DOI: https://doi.org/10.1215/02705346-3661982
Published: 01 May 2017
..., Film International, Film Criticism , and Jadaliyya . She is currently at work on a book about the aesthetics and politics of the Iranian New Wave in the 1960s and 1970s. © 2017 by Camera Obscura 2017 Iranian New Wave collectivity cinema of poetry female voice Iran Figure 1...
View article PDF
Journal Article

Fluid Fantasies: Splash and Children of a Lesser God

Susan Felleman
Camera Obscura (1989) 7 (1 (19)): 108–133.
DOI: https://doi.org/10.1215/02705346-7-1_19-108
Published: 01 January 1989
... than those boundaries themselves. Whether or not the gaze is male,’ its objects are cast against a shiftier background and Splash (Ron Howard, 1984) 110 cast more ambiguous shadows in many recent films. This would seem to be due, in part, to directors working much more independently...
View article PDF
Journal Article

Pleasure Aesthetics: On the Art of Mika Rottenberg

Shannan Hayes
Camera Obscura (2024) 39 (2 (116)): 71–102.
DOI: https://doi.org/10.1215/02705346-11207815
Published: 01 September 2024
... assembly line. Through editing and onsite international filming, the videos suture seemingly disparate locations and activities within an international division of labor. Yet they do so in a way that is neither didactic nor orienting. The works frustrate the desire to know. They offer the messy, immersive...
FIGURES | View All (7)
View article PDF
Journal Article

Hammertime!

Jennifer Lange
Camera Obscura (2021) 36 (3 (108)): 123–127.
DOI: https://doi.org/10.1215/02705346-9349427
Published: 01 December 2021
...Jennifer Lange Abstract This memoir recounts Barbara Hammer's relationship to the Wexner Center for the Arts and its Film/Video Studio residency program, which supported a number of her films between 1994 and 2018. It offers some personal insight into the evolution of Hammer's final work...
FIGURES
View article PDF
Journal Article

Imagining Future Gardens of History

Jackie Hatfield
Camera Obscura (2006) 21 (2 (62)): 184–191.
DOI: https://doi.org/10.1215/02705346-2006-008
Published: 01 September 2006
... artworks grow and flourish in a fecund landscape. 190  •  Camera Obscura Notes 1. My works include Camera Suit performances (UK, 1994 – 1996); Scar, an installation (UK, 1995); trigger-active, semi-immersive expanded cinema exploring the merger between analog and digital...
View article PDF
Journal Article

From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative

Olivia Landry
Camera Obscura (2022) 37 (2 (110)): 119–147.
DOI: https://doi.org/10.1215/02705346-9787042
Published: 01 September 2022
...-unification Turkish German Cinema: Work, Globalisation and Politics beyond Representation (London: Palgrave Macmillan, 2018), 156. 33. Kobena Mercer, “Black Art and the Burden of Representation,” Third Text 4, no. 10 (1990): 61–78. I am grateful to Gozde Naiboglu for bringing this text to my...
FIGURES
View article PDF
Journal Article

Three by Three: Lisa Cholodenko’s Attachment Trilogy

Lee Wallace
Camera Obscura (2019) 34 (3): 97–125.
DOI: https://doi.org/10.1215/02705346-7772399
Published: 01 December 2019
... attachment to the story of attachment itself ambivalent, a case of being stuck, or a case of working through? Does the narrative repetition represent an inability to move on or constitute a satisfaction in its own right? Is repetition a consolation for the failure to attach to something new or a form...
View article PDF
Journal Article

A Permeable Practice: Shortbus and the Politics of Cinematic Collaboration

Corinn Columpar
Camera Obscura (2016) 31 (1 (91)): 5–25.
DOI: https://doi.org/10.1215/02705346-3454507
Published: 01 May 2016
... considers these stakes by discussing Shortbus as both a text and a set of performative practices predicated on embodied engagement and gestural exchange. Serving as a jumping-off point for this endeavor is George Kouvaros's work on another figure in US cinema known for his collaborative ventures, John...
View article PDF
Journal Article

Pathos and Pathology: The Cinema of Todd Haynes

Mary Ann Doane
Camera Obscura (2004) 19 (3 (57)): 1–21.
DOI: https://doi.org/10.1215/02705346-19-3_57-1
Published: 01 December 2004
... just a few meters away from the retina. . . . —Roger Caillois, “The Image” There are at least two shots in Todd Haynes’s work that recur so frequently one might almost call them signature shots. The first appears in Superstar (US, 1987) and Poison (US, 1991) and func- tions as the opening...
View article PDF
Journal Article

Learning to Love What Passes: Sensual Perception, Temporal Transformation, and Epistemic Production in Hirokazu Kore-eda's After Life

Kristi McKim
Camera Obscura (2008) 23 (2 (68)): 69–101.
DOI: https://doi.org/10.1215/02705346-2008-003
Published: 01 September 2008
... of photogenic love. © 2008 by Camera Obscura 2008 Kristi McKim is an assistant professor of film studies at Hofstra University. Her work has appeared in Film-Philosophy and Senses of Cinema and is forthcoming in Film Quarterly and Film International . Learning to Love What Passes...
View article PDF
Journal Article

A Manifesto for the Broken Machine

Sarah Sharma
Camera Obscura (2020) 35 (2 (104)): 171–179.
DOI: https://doi.org/10.1215/02705346-8359652
Published: 01 September 2020
... differences make them less capable than men of working in and with tech.1 Soon after, the New York Times documented the rise of men s rights associations in Silicon Valley as part of a back- lash against women s growing power in the workplace.2 Ellen Pao s unsuccessful 2015 lawsuit against her former...
View article PDF
Journal Article

Julia Lesage

Camera Obscura (1989) 7 (2-3 (20-21)): 219–226.
DOI: https://doi.org/10.1215/02705346-7-2-3_20-21-219
Published: 01 December 1989
... text, all of which are in turn refracted for us through the atmosphere of the intervening historical distance. The notion of the female spectator has certainly not outlived its usefulness; I think a vast amount of work remains to be done on the history of female spectatorship which...
View article PDF
Journal Article

“The Stallion Who Became a Gelding Who Became a Mayor”: Georgie Girl

Peter Limbrick
Camera Obscura (2008) 23 (1 (67)): 184–193.
DOI: https://doi.org/10.1215/02705346-2007-032
Published: 01 May 2008
... is working on a book about the material and textual histories of colonialism and cinema in the former British Empire. “The Stallion Who Became a Gelding Who Became a Mayor”: Georgie Girl Peter Limbrick “She’s got grace and she’s got just something exquisite about her that’s really woman...
View article PDF
Journal Article

Road Movie : Notes from the Field

elle flanders
Camera Obscura (2012) 27 (2 (80)): 165–175.
DOI: https://doi.org/10.1215/02705346-1597267
Published: 01 September 2012
...elle flanders This piece follows the author's journey of making a film about the segregated roads in Palestine, and the ways in which queer subjectivity and radical politics inform the work we produce regardless of subject matter. Offering a counter-narrative to the Israeli government's...
View article PDF
Journal Article

Disregarding Romance and Refashioning Femininity: Getting Down and Dirty with the Designing Women

Tara McPherson
Camera Obscura (1993) 11 (2 (32)): 102–123.
DOI: https://doi.org/10.1215/02705346-11-2_32-102
Published: 01 September 1993
... are details of the production of the couples’ first two sitcoms, Designing Women and the newer Evening Shade.’ This framing of the conditions of production by the story of a romantic relationship works to hide the labor involved in producing their shows behind the thrill of romance...
View article PDF