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1
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
... engages in collective media production from Inuit women's perspectives with an explicit focus on gender. Arnait's video art, animation, fiction features, television programs, and documentaries address issues faced by women struggling for the recognition of indigenous and minoritarian cultures. The success...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 77–105.
Published: 01 December 2023
... to the world of fantastical nonhuman creatures. For me, a non-Indigenous viewer and scholar working with queer theory and Indigenous media studies, these themes seemed so obvious, existing on the surface level of the film, not hidden beneath it. Yet most authors referred to the two main characters, Tina...
FIGURES
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Journal Article
Camera Obscura (2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
... inception in
the 1960s Navajo Film Themselves project and persists in the
form of the indigenous video movement and more diffuse “media
empowerment” projects in subsequent decades. I argue that the
increasingly popular genre of “child media advocacy” projects to
which Born into Brothels...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
....
As Faye D. Ginsburg, Lila Abu-Lughod, and Brian Larkin
have observed, studies of Indigenous media have been “ ‘haunted’
by the question of whether minority or dominated subjects can
assimilate media to their own cultural and political concerns or
are inevitably compromised by its presence.”2...
Journal Article
Camera Obscura (2023) 38 (2 (113)): 63–87.
Published: 01 September 2023
... at the National Film Board of Canada (and the follow-up project, Second Stories), the imagineNATIVE Film + Media Arts Festival, and the Dreamspeakers International Indigenous Film Festival. In Barclay's own Aotearoa New Zealand, the Māoriland Film Festival began in 2014. 3 In its first year the festival showed...
FIGURES
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Journal Article
Camera Obscura (2005) 20 (1 (58)): 185–207.
Published: 01 May 2005
... of Hawaii Press, 1993); Caroline
Sinavaiana, “Comic Theatre in Samoa as Indigenous Media,”
Pacific Studies 15 (1992): 199–209.
Darkness and Light: Dusky Maidens and Velvet Dreams • 207
Sarina Pearson is a lecturer in the Department of Film, Television,
and Media Studies...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 262–289.
Published: 01 January 1992
... to
communicate something about that social or collective identity we call
‘culture,’ in order to mediate (one hopes) across gaps of space, time,
knowledge and prejudice.” She argues that media like film and television
made by indigenous peoples, such as the work...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... of their identities. These
identities then become a focal point of knowledge production
about these filmmakers. Though both are understood as women
directors in many reception contexts, Moffatt’s indigenous status
obscures her gender visibility in some Australian and Aboriginal
media histories...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 40–52.
Published: 01 December 1989
.../les cahiers de la femme 8 (Spring 1987 ). Women and Media/les femmes et les medias. CinémAction 20 ( 1986 ). “Aujourd'hui le cinéma québécois.” Special issue on cinema in Quebec. Copie Zéro 6 ( 1980 ). “Des cinéastes québécoises.” Special issue on Quebec's women filmmakers...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 135–145.
Published: 01 May 2013
... memory, transnational media, and diasporic spectatorship. She has worked as an associate producer on documentary film projects and as curator and consultant on the preservation and exhibition of indigenous and Latinoamerican media in New York City and Los Angeles. Bienvenida (Beni) Matías...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 1–37.
Published: 01 May 2020
... “relegate the embodied voice to a service role of rendering audible the coherent thought.” Similarly, for trans-gender individuals undergoing vocal change, media technologies of vocality like the telephone and the answering machine—the subject of this article—do more than render subjects audible. Through...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 31–57.
Published: 01 December 2022
... Chick Strand was years ahead of her time,” asserted Canyon Cinema Foundation in a recent social media post about the 2015 retrospective of the filmmaker at the Tate Modern. 1 Highlighting the contemporary feel of Strand's experimental ethnographic films mostly dating back to the seventies...
FIGURES
Journal Article
Camera Obscura (2016) 31 (3 (93)): 5–33.
Published: 01 December 2016
...Marusya Bociurkiw From 1972 to the early 1990s, Canadian feminist media collectives created dozens of social-issue documentaries and television series, producing an ephemeral archive of a vibrant era of political and social change. This article discusses the loss and/or deterioration...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
...Elizabeth Coffman; Erica Stein New Day Films was formed in 1972 as a feminist media collective to distribute films addressing gender issues. Forty years later, New Day boasts close to two hundred members and yearly distribution profits of $1 million. This article uses New Day's history...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 191–202.
Published: 01 January 1988
... appropriately notes the danger of a media-politics approach to mass
culture. Studying mass culture through quantitative understanding makes
politics become a question of more or less: for example, who has more
or less access to the channels of communication, who owns more or less
of the available media...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
... cinema
played a key role in Japan and China, negotiating competing rep-
resentations of gender and modernity. The question of becoming
“modern” without becoming “Western,” and the attempts to delin-
eate the terms of a modern indigenous popular culture within the
institutions of cinematic...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 134–151.
Published: 01 January 1992
..., anthropologists and other cultural workers
have been teaching indigenous people how to make their own media.
My project, teaching video production skills within an HIV video
support group, was indebted to this vision of ethnographic represen-
tation.
Although...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 184–193.
Published: 01 May 2008
...Peter Limbrick Camera Obscura 2008 Peter Limbrick is an assistant professor of film and digital media at the University of California, Santa Cruz. His research and teaching interests include histories of colonialism and cinema, postcolonial theory, globalization, and sexuality. He...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 187–193.
Published: 01 September 2016
... biologies,
sex organs for a post-human world, 2014. Mixed media.
© Pinar Yoldas
IN PRACTICE: OPACITIES
Imperceptibility and Accumulation:
Political Strategies of Plastic
Heather Davis
I glide my fingers across the surface, finding it sleek and smooth...
Journal Article
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...
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