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Journal Article
Camera Obscura (2018) 33 (2 (98)): 41–67.
Published: 01 September 2018
...Marta Figlerowicz This essay examines Lars von Trier’s Nymphomaniac (Denmark/Belgium/France/Germany, 2013) and Jonathan Glazer’s Under the Skin (UK/US/Switzerland, 2013) as instances of an aesthetic trope described here as “inanimism.” Both films depict inanimate representations of human beings...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 133–154.
Published: 01 May 1988
..., Mr. Kite, Mr. Window, and in the second season, Clocky the clock and Floory the floor, just to name a few. And it is precisely this animation of the inanimate that characterizes the un- canny: sentient furniture, dolls coming to life, dismembered limbs, a severed head, a hand cut off...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 59–67.
Published: 01 December 2022
... without realizing it: that is to say, they are the authors of their film, in the same way that painters are the authors of their work, regardless of the historical or religious anecdote they are depicting, and regardless of the inanimate or living object that is the basis of their composition...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 119–129.
Published: 01 December 2003
... of her performance, film, and photographic work involves inanimate objects with which Chang, in her own words, “interacts passionately.” The objects range from a two-hundred- pound block of ice, to a blow-up doll, to a dozen hot dogs that are crammed into her mouth, to live eels that are stuffed...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 87–113.
Published: 01 December 2022
...-Ponty's ontology of the flesh, a project of philosophical interrogation that radically reworks the distinction between the subject and the object, the human and the animal, and the animate and the inanimate. The flesh enables us to think being outside the parameters, not only of the proprietorial self...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
... in [Jean-­Luc] Godard’s definition, marks a transition from the animate to the inanimate, from life to death. The cinema reverses the process, by means of an illusion that animates the inanimate frames of its origin.”24 But if cinema pulls life out of death, as Mulvey, fol- lowing Barthes, argues...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 115–143.
Published: 01 December 2022
... her. “Firework” swells again in the score. She begins to practice the hand signals from her whale-training routine, slowly, at first, and then with increased confidence, for an inanimate audience this time, an absent animal. The camera focuses on her hands, sending signals out to nowhere; what matters...
FIGURES | View All (4)
Journal Article
Camera Obscura (1995) 12 (2 (35)): 129–157.
Published: 01 May 1995
..., but she cannot be a desiring subject. Not only is she inanimate, but the text of the play prevents her even from committing suicide, as the act normally requires the man to slay the woman first and subsequently kill himself. While the text of the play includes a discourse...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 243–274.
Published: 01 May 1997
... the body as constructed, as a cyborg, android, or otherwise fabricated doll, then we find sim- ilarities between it and Freud’s definition of the uncanny written in 1919. He illustrates three points in particular which form a definition of the uncanny: “when an inanimate object becomes too much...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 28–49.
Published: 01 September 1985
... or for their originality as a means of exhibition. Just the opposite was true of Bill Viola’s Room for St. John of the Cross, structured on the antithetical relation between two spaces, one inside the other. A dimly lit cell in the middle of the room 43 contained several inanimate objects and a small...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... whether inanimate dolls could generate spec- tator identification, the experiment is not a seamless one. The film is composed of abrupt generic shifts and jump-cut ruptures that foreground the work as image and sound, not as constitutive of a diegetic world. K. Burdette has written the most extensive...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
... was, but it is important to consider as well the presence of the inorganic object in the category of profilmic reality. Let us remember Mizoguchi’s comment about a wind chime in close-up. Synchronized sound also works to make inanimate objects, such as a wind chime, tangible and present, especially when...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 35–83.
Published: 01 May 2003
.... Prosopopeia, from prosopon, meaning to confer a mask or a face, also means personification, wherein the inanimate embod- Memory Once Removed • 61 ies the properties of the animate (and human), as, for instance, a landscape of a portrait in which people’s faces...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... her own identity, most of the time saying “we” and “our” rather than “me” and “mine.” She pushed the inanimate object, the breadwinning stove — which she gendered as male — to the fore while she remained his supplicant. One representative sample from her Hungarian goulash episode...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 9–39.
Published: 01 May 2021
... from an inanimate, sculptural hard casing. The penultimate section of Uncle Yanco depicts a sailing party onboard Yanco's boat the Cythera , named, of course, for the island of Aphrodite and his self-appointed birthplace. Many of the same vividly clothed guests from the dinner party board...
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Journal Article
Camera Obscura (1993) 11 (1 (31)): 48–70.
Published: 01 May 1993
... of value.’ To the Europeans, the Africans’ attribution of talismanic and pro- phylactic powers to inanimate objects was the basis for their false economic valuation of material objects. They would exchange gold for what the Europeans considered to be worthless “trifles.” The overes- timation...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
...  •  Camera Obscura flees Robert. Inanimate objects get in the way of Eva’s race for life, starting with a red sash that Robert throws at her and from which <fig. 2 cap.>Streets of London, Children of she has a hard time disentangling herself, and again with the frame Men...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 69–91.
Published: 01 January 1996
... ordinary mortals require either their self-effacement or transformation. In their encounters with the gods, human beings only gain mythological status by turning into things: a tree, nightingale, flower, or, in Helen's case, a picture. To reach this inanimate state, she must thus reconcep...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 104–126.
Published: 01 May 1976
... to the material of the record or to the film stock of the film if not that such reproductionwould be confusing and indecipherable to us: the inscription follows other tracks, which are organized according to 107 other principles than those of inanimate matter. Yet, there is something there which should...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
... in that appearance and has to find a way out of it. (Thus art can give a face even to an inanimate object . . . and it may be that nowa­ days the entire Earth, which has been transformed into a desert by humankind’s blind will, might become one single face19 For Agamben the face is a restless power...