... was asked, in an interview conducted barely a week after the outbreak of the 1992 uprising in Los Angeles, what kind of politics he thought the area's (inner) city youth would produce in the wake of the upheaval. Davis, who traced with unrelenting verve and pa- nache the southern California city's...

... perverts the cinematic spatial arrangements typical of the Hollywood heterosexual romance.3 Heterosexually orthodox, the love story promises the satisfaction of the inner desires of the main characters whose identities are secured in pursuit of this narrative end. With the white female-male couple...

... the character of this inexpensive, easily accessible inner-­city neighborhood for decades. Central to this lively 1990s dyke cul- ture was a weekly all-­girl poetry open mic night called “Sister Spit” (which Tea cohosted), as well as a dyke-­run coffeehouse known as Red Dora’s Bearded Lady Cafe...

... and the inner search for gold; about imagery in the unconscious and its relationship to the power of cinema; looking at childhood and memory and seeing the history of cinema itself as our collective memory of how we see ourselves and how we as women are seen. “Working with two...

... factory windows. The miniature is enormous. Time and millions were put into creating an irreality that gothicizes urban squalor. It shows a fascination 10 • Camera Obscura not only with the inner city but also with the marginal and crimi- nal dimensions that flourish in it. While...

... with scantily-clad women; in the second two officers are killed on the job as they pursue a menacing black criminal. The latter scene is particularly significant, as it takes place in a hous- ing project where black criminality is linked to the squalid, anony- mous architecture of the inner city...

.... As it happens, the movie forwards precisely this privatizing view of inter- racial strife. With its switcheroo ending whereby black-on-yellow violence is unmasked as black-on-black and yellow-on-yellow violence, the movie represents inner-city conflict as a symptom of minority pathology rather than...

... face between an “outer” performativity and (what we presume to be purely) an “inner” personal self.3 As I have elabo- rated elsewhere, US television, too, is positioned at precisely the (fluid) borders of public and private, domestic and social, “us” and “them,” bringing what’s “out...

..., its possibilities of symbolic extension are to that degree limited, and the sexual retains its status as a banal inner-worldly event and bodily function (p. 64). The difficulty with this formulation is that it obscures the necessary and inevitable links between...

... society in this period-and, specific- ally, the upward mobility of a few minority groups-threatened the traditional topography of "middle-classness" by diversifying its spaces. In particular, as William Julius Wilson notes, "the exodus of black middle-class professionals from the inner city...

.... It is the only dramatic film of Riefenstahl's career other than Das blaue Licht (The Blue Light),23 and the only one made during the Third Reich. As a project which Riefenstahl has defended as an attempt to escape making a propaganda or war film," it should be considered as much a work of "inner emigration...

... is going on constantly in the psychical apparatus between perception and the inner image (from the conscious trace to the lost image, the "thing-presentation The eye of the spectator is given, since it is through the eye that the unconscious sees, a figuration of figuration...

.... The first alternative offers that crying expresses an inner state. This is quite familiar in the case of weeping Israeli soldiers and has been discussed, for example, by Slavoj Žižek. The second alternative concerns the performative force of crying — what crying aims to do, not what already...

... carried by the least likely of objects and characters: witness Johnny Mnemonic (Keanu Reeves), the flattest man on film (even the Terminator has a richer and more accessible inner life than poor Johnny, who dumped his long-term memory in order to free up wetware space in his head for data...

.... The Hollywood Musical by Jane Feuer. Indiana University Press Bloomington, 1982. The Inner Eye ofAlfiedStieglitz by Robert E. Haines. University Press of America. Lanham, Maryland, 1983. The HollywoodMusZcd Goes to War by Allen L. Woll. Nelson-Hall. Chicago, 1983. Film Criticism - A Counter...

... destroy her human covering but leave the inner mechanism intact. “Witch!” cries the mob. Rotwang pursues the Real Maria to the top of the cathedral, himself pursued by Freder. The two men fight and Rotwang falls. The father, on his knees, says, “Praise God!” On the porch...

...- gression and denouement. Carefully controlling just what and how much to show us, this investigative eye knows how to search Copyright © 2004 by Camera Obscura Camera Obscura 55, Volume 19, Number 1 Published by Duke University Press 77 78 • Camera Obscura out and eventually expose the inner...

... of the active interchange, in the formation of subjectshndividuals, between “inner” and ‘‘outer” worlds. This is not to refute the instru- mentality of the social, but it certainly is to contest any suggestion that people are puppets dangling on the strings of social forces...

... of Iran, rules of modesty are also even encoded into the design of the home, which, as we see in episode one, consists of an exterior wall and a series of rooms with an inner sanctum that enables the segregation of women from unrelated men who might enter the home. As Naficy writes...

... of those who have internalized straight society’s opinion of them.19 But the Pee-wee persona appears to offer a new version of camp subjectivity in that one finds here no inner pathos, no inner struggle, no problem of feeling abnormal or wanting to hide it. Pee-wee’s comic mode has most often...