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Camera Obscura (1983) 4 (2 (11)): 111–119.
Published: 01 September 1983
... elevated status within the ranks of official art history. Nor is she solely intent on forcing an admission of Cassatt's active participation in, and significant contribution to, the French Impressionist and Post-Impressionist movements. Though Cassatt is initially hailed on both these counts, the...
Camera Obscura (1989) 7 (2-3 (20-21)): 217–219.
Published: 01 December 1989
... Copyright © 1990 by The Johns Hopkins University Press 1989 Antonia Lant 217 The question of gendered spectatorship probably first arose for me while studying French Impressionist art ten years ago at Leeds Uni- versity with Griselda...
Camera Obscura (1991) 9 (3 (27)): 174–178.
Published: 01 September 1991
... French Art of the Impressionist Era by Hollis Clayson. Yale University Press, 1991. From Limelight to Satellite: A Scottish Film Book edited by Eddie Dick. Indiana University Press, 1991. $23.95. Silent Witnesses: Russian Films, 1908-1 91 9 edited by Yuri Tsivian. Indiana University Press...
Camera Obscura (1989) 7 (2-3 (20-21)): 179–183.
Published: 01 December 1989
... impressionistic because of the lack of a rigorous and systematic presentation of empirical data about their subjects. Since I have been critical about the ahistorical nature of post-struc- turalist feminist film theory and criticism and its (0ver)emphasis upon textual analyses...
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
... subjective optical devices in this glance/object sequence, Pabst adopts a technique popularized by the French Impressionist filmmakers, considered by David Bordwell as cine- ma s first avant-garde practitioners. Drawing on Jean Mitry s Aes- thetics and Psychology of the Cinema, Bordwell divides the...
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
... in black and white and show two young girls entering and lying down in a small tent on the frozen tundra. As one girl falls asleep, she dreams — now in color — of running naked through the now- thawed landscape as animated images of clouds morph into a face. The impressionistic, experimental...
Camera Obscura (1985) 5 (1-2 (13-14)): 28–49.
Published: 01 September 1985
... daylight, electronically produced, is juxtaposed with shadow, its negative, or opposite. Mary Lucier’s impressionistic quest is another video approach to the problem of light. In her early pieces she recorded the action of light (from lasers, the sun, and other sources) on the...
Camera Obscura (1977) 1 (2 (2)): 2–33.
Published: 01 September 1977
... take them separately; hopefully the similarities will become evident, the differences will remain distinct. Abstract Film and Beyond (Malcolm Le Grice)* 5 Malcolm LeGrice locates the roots of the filmic evolution he traces in the pre-cinematic painting of the Impressionist era...
Camera Obscura (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
... impressionist ﬁlm theory. He acknowledges his intellec- tual debt to Jean Epstein and his understanding of photogénie.22 While Epstein shared the epistemological euphoria over cinema displayed by modernist thinkers such as Walter Benjamin, his notion of photogénie emphasized the sensuous aspects of cinema’s...
Camera Obscura (2007) 22 (3 (66)): 93–127.
Published: 01 December 2007
... in an impressionistic blur, a synesthetic blend of color, sound, rhythm. In this deviation from classical conventions, the distinction between the interiority of the diegesis (indeed, the interiority of a character’s emotions) and its external point of cinematic enunciation within the sound...
Camera Obscura (2004) 19 (3 (57)): 157–185.
Published: 01 December 2004
.../France/US, 2000) and The Man Who Wasn’t There (US, 2001). In Titanic, the protagonist Rose (Kate Winslet) sees not only the inequities of gender, nationality, and social class around her; she sees the aesthetic (and perhaps even monetary) value in Impressionist art and the impending sinking of the...
Camera Obscura (1984) 4 (3 (12)): 66–85.
Published: 01 December 1984
... ’Ecranseems more emblematic of that kind of impressionistic journalism that eschews breadth for the momentary insight and, as in the particular case of Ropars, trades theoretical reflection for an invocation of humanistic themes, well befitting a journal with the name, Erpn’t: thus, Ropars makes use...
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
... the Society for Assisting Lepers (Anjomane Komak be Jozamian). This institu- tional connection is belied by the film’s impressionistic and exper- imental style. Although The House Is Black is replete with images of daily life in the leper colony, it contains only a brief educational seg- ment...
Camera Obscura (2001) 16 (3 (48)): 159–195.
Published: 01 December 2001
... turned her eyes upon us beneath the famous powdered wig of Madame DuBarry, we have been hearing about her. First, in the dim recesses of Continental Europe, impressionistic glimpses of the alluring, the foreign, the thrillingly different and wonderful Pola Negri. Then—she was coming to...
Camera Obscura (2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
Camera Obscura (2011) 26 (3 (78)): 1–33.
Published: 01 December 2011
Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
... women: from George Du Maurier’s Trilby to Metropolitan Opera singer Marion Talley, from Snow White to impressionist Jane Horrocks. These bodies do more than articulate the fear of female author- ity that has kept women’s voices in check since the creation of the rst castrato; they expose the...
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... his nude shots. Similarly, the flm unfolds across visual registers of varying densities: the decadent noir style of its interiors, where baroque sets and oversaturated colors envelop the characters and the viewer in a suffocatingly lush ambiance; the soft-focus impressionistic aesthetics of...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 131–160.
Published: 01 December 1982
... Impressionist painters”23 (recall that Serge is, among other things, a painter). Conversely, it is a remarkable fact that all the “metaphorical” shots (setting aside for a moment those after shot 57 which I will discuss later) have their own sound which, as in shot 8, is sometimes silence. (I will...