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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 16 (3 (48)): 59–81.
Published: 01 December 2001
... Feuillade , to be published by Wayne State University Press. She is also coediting an anthology of feminist film history and historiography. Musidora as the phantom that haunts film history in Les vampires (1915–16), directed by Louis Feuillade Screening Musidora: Inscribing Indeterminacy in Film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 65–97.
Published: 01 December 2016
... writing initiatives and the failures and disappointments experienced in such projects, which can be seen as participating in a promise economy. “Promise economy” refers to a cultural economy that is based, or dependent, on certain promises that are inscribed in collaborative cultural practices such as...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 141–143.
Published: 01 May 1992
..., Inscribing Science.” NO. 28; pp. 5-18. Introduction for special issue, “Imaging Technologies, Inscribing Science 2.” NO. 29; pp. 5-17. Colwell, Stacie The End ofthe Road: Gender, the Dissemination of Knowledge, and the American Campaign Against Venereal Disease during World War...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 120–126.
Published: 01 September 1988
... linguistic and the visual, but rather to assemble, classify, and totalize under the sign of the image, even if a mobile one, the ensemble of filmic figures by inscribing there the ensemble of films. This reconciliation of the Peircean logic of exhaustive'cataloguing and the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 199–204.
Published: 01 December 1989
... historically inscribed, gendered adult. Such cognitive pleasures are inscribed in the discourse of certain films, which allow us to experience the infantile pleasure that classical cinema typically satisfies, and then force us (sometimes through excess or reflexiveness) to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1992) 10 (1 (28)): 4–19.
Published: 01 January 1992
... Science as well as popular magazines like Scientific American and Life.’ To examine these technologies and the narratives that inscribe them in culture is the broad project of Camera Obscura no. 28 and no. 29. These two issues, inaugurating the journal’s publication by Indiana University...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 332–335.
Published: 01 December 1989
... inscribed in narrative cin- ema-but to chip away at its total alignment of power and pleasure with the masculine symbolic. Under what conditions could there be a positive, pleasurable and empowering position for the female spectator- 333 subject? My approach in quite a few articles was...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 137–145.
Published: 01 September 1988
... social breakdown is inscribed within strategies of cinematic narration which lack the customary linearity, coherence, and sense of closure suggested by the classical model, and by a visual style which at once emphasizes the relation between character and envi• ronment through location shooting, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 93–104.
Published: 01 September 1977
... instant that the film-strip begins to file past the projector's gate, someone intervenes in the filmic operation in order to inscribe in it the position of an enunciator. The merit of Kuntzel's article is to combine a precise and detailed anal- ysis of a film-text, 'a view in close-up and the broad...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 67–92.
Published: 01 September 1977
... this really 'Marnie', the woman-title Hitchcock appropriates for himself and offers us? Secondly, in the body ofthe text, the work ofenunciation. The variation in distance between camera and object serves to inscribe cinemawithin the regime ofthe scopic drive through an exaggerated mani...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1992) 10 (1 (28)): 238–261.
Published: 01 January 1992
... microhistorical case, pertaining to the city’s first movie theater located in the area of the railway station, suggests that the genesis of film reception is inscribed in a visual curiosity about the body’s landscape. In a proleptic movement of spectacles, the female body is revealed as the fantasmatic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 241–245.
Published: 01 December 1989
... the role of participant. I also think that a degree of social archaism is inscribed in theories of spec- tatorship drawing on psychoanalysis, and on theories of technology that privilege the camera. I agree with Dana Polan’s (1986a) argument that the resulting models...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1983) 4 (2 (11)): 111–119.
Published: 01 September 1983
... Impressionism were intimately related. To sustain this claim, Pollock considers what new aesthetic forms Impressionists thought adequate to the rupture modernity initiated with past artistic sensibilities, how these were inscribed (and modified) within Cassatt's oeuvre, and what transformations this...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 216–218.
Published: 01 May 1979
.... Much has been written about how the duration of the shots, the static camera, the hyper-realist acting of Delphine Seyrig, and the drawn-out repetitions of routine tasks are the techniques that Akerman uses to inscribe Jeanne Dielman and her world. Less noticed but equally...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 206–215.
Published: 01 September 1990
... inscribed on the pagehideo-screen and thus given a stability analogous to the one they have in a book. It can happen then that we forget the name. We forget it all the more 209 readily in the letters without words (there are several of them), or of few words (there are many of these) and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1985) 5 (1-2 (13-14)): 148–157.
Published: 01 September 1985
...; but castration is also inscribed at the level of the Imaginary, that is, in fantasy, 155 and this is where the fetishistic scenario originates and is continually replayed. The child’s recognition of difference between mother and father (which is not quite the same thing as actually seeing it...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 54–89.
Published: 01 December 1980
... begnning in terms of the gaze of the spectator, folded over and inscribed in the film-text as that of Garland/Manuela’s in its various permutations developed in the system. Thus the mark whch opens the figure is delegated to hold the place of the absent spectator, metaphorically...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
... editors described it in detailing critical approaches in the first vol- ume of the journal, “Textual analysis considers the text (the film) as a dynamic process of the production of meanings, inscribed within the larger context of social relations. The text is seen not as a closed work, but as a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 70–103.
Published: 01 May 1979
... matrimonial education is the subject of the film. The hero’s fate is shaped by the feminine figure, but only to the extent that the representations organized around this figure allow for the two of them to be inscribed together in a symbolic framework. JB: And these symbolic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 162–167.
Published: 01 September 1990
.... Thus, from a “readable” montage, shapes begin to waver, to float, to be liquified from one screen to the other, faster and faster until the concept of the frame is lost for the sake of an image in action, perpetually in the process of being inscribed, being lost, lacunary...