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Journal Article

Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and Iranian Cinema

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Lindsey Moore
Camera Obscura (2005) 20 (2 (59)): 1–33.
DOI: https://doi.org/10.1215/02705346-20-2_59-1
Published: 01 September 2005
...Lindsey Moore Camera Obscura 2005 Lindsey Moore is lecturer in English at Lancaster University, UK. She has published articles on Algerian revolutionary women in the texts of Frantz Fanon and Gillo Pontecorvo and on Shirin Neshat, an Iranian artist resident in the United States. She...
View articletitled, Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and <span class="search-highlight">Iranian</span> Cinema View PDF for article titled, Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and <span class="search-highlight">Iranian</span> Cinema
Journal Article

The Object-Voice: The Acousmatic Voice in the New Iranian Cinema

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Farshid Kazemi
Camera Obscura (2018) 33 (1 (97)): 57–81.
DOI: https://doi.org/10.1215/02705346-4336839
Published: 01 May 2018
...Farshid Kazemi Though proscriptions on the gaze in the New Iranian Cinema have been analyzed to some degree, similar proscriptions on the female voice have remained a virtual terra incognita. This article theorizes the unique structure of the voice operative in the New Iranian Cinema through what...
View articletitled, The Object-Voice: The Acousmatic Voice in the New <span class="search-highlight">Iranian</span> Cinema View PDF for article titled, The Object-Voice: The Acousmatic Voice in the New <span class="search-highlight">Iranian</span> Cinema
Journal Article

A New Form for a New People: Forugh Farrokhzad's The House Is Black

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Sara Saljoughi
Camera Obscura (2017) 32 (1 (94)): 1–31.
DOI: https://doi.org/10.1215/02705346-3661982
Published: 01 May 2017
... of the cinema of poetry. It argues that the techniques used by Farrokhzad are key to the development of a new film form in Iran. Sara Saljoughi is an assistant professor of English and cinema studies at the University of Toronto. Her writing is published in Iranian Studies, Feminist Media Histories...
View articletitled, A New Form for a New People: Forugh Farrokhzad's The House Is Black View PDF for article titled, A New Form for a New People: Forugh Farrokhzad's The House Is Black
Journal Article

Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini's The Day I Became a Woman

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Michelle Langford
Camera Obscura (2007) 22 (1 (64)): 1–41.
DOI: https://doi.org/10.1215/02705346-2006-019
Published: 01 May 2007
... momentum, experienced, by this viewer at least, as exhilaration. On closer examination, however, it becomes clear that this virtual mobility may not reflect the actual mobility avail- able to women in Iranian society. It is this problematic that forms one of the film’s central themes, a theme...
View articletitled, Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini's The Day I Became a Woman View PDF for article titled, Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini's The Day I Became a Woman
Journal Article

The Documentaries of Kim Longinotto: Women, Change, and Painful Modernity

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Belinda Smaill
Camera Obscura (2009) 24 (2 (71)): 43–75.
DOI: https://doi.org/10.1215/02705346-2009-002
Published: 01 September 2009
... documentaries frequently focus on women and children in not only the United Kingdom but also in cultures as diverse as Japan, Iran, and nations in Africa. This essay explores four of her most well-known recent documentaries, Divorce Iranian Style (1998) and Runaway (2001), both made in Tehran and codirected...
View articletitled, The Documentaries of Kim Longinotto: Women, Change, and Painful Modernity View PDF for article titled, The Documentaries of Kim Longinotto: Women, Change, and Painful Modernity
Journal Article

Bahram Bayzai's Maybe...Some Other Time : The un-Present-able Iran

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Negar Mottahedeh
Camera Obscura (2000) 15 (1 (43)): 163–191.
DOI: https://doi.org/10.1215/02705346-15-1_43-163
Published: 01 May 2000
...Negar Mottahedeh Camera Obscura 2000 Negar Mottahedeh is a professor of cultural studies and comparative literature at Ohio Wesleyan University. She is currently working on a book-length project on Iranian cinema of the 1980s and 1990s. CO 43-5, 162-191 6/7/00 11:56 AM Page 162 CO...
View articletitled, Bahram Bayzai's Maybe...Some Other Time : The un-Present-able Iran View PDF for article titled, Bahram Bayzai's Maybe...Some Other Time : The un-Present-able Iran
Journal Article

Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet

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Nazli Akhtari
Camera Obscura (2022) 37 (3 (111)): 1–29.
DOI: https://doi.org/10.1215/02705346-10013590
Published: 01 December 2022
... up critical questions about gender vis-à-vis production, labor, and computation within both carpets and computers as media interface. [email protected] Copyright © 2022 by Camera Obscura Published by Duke University Press 2022 Iranian diaspora archive remix and (mis)use...
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View articletitled, Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet View PDF for article titled, Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet
Journal Article

Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior

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Clara Bradbury-Rance
Camera Obscura (2022) 37 (3 (111)): 145–177.
DOI: https://doi.org/10.1215/02705346-10013660
Published: 01 December 2022
...). Is citing the past of cultural production a way of signaling one's place in the present—or of undermining it? After all, Shirin is the archetypal millennial subject: reaching the end of her twenties and discovering that both professional and romantic success remain elusive. And as a bisexual Iranian...
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Journal Article

Shampoo: Editing, Advertising, and Codes of Modesty on Saudi Arabian Television

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Noor Al-Qasimi
Camera Obscura (2011) 26 (2 (77)): 91–121.
DOI: https://doi.org/10.1215/02705346-1301548
Published: 01 September 2011
... to Iranian cinema, since this subject has garnered significant attention within the Western academic canon. In his seminal essay, “Veiled Visions/Powerful Presences: Women in Post- revolutionary Iranian Cinema,” Hamid Naficy argues that the insti- tutionalization of modesty in Iran, as formulated...
View articletitled, Shampoo: Editing, Advertising, and Codes of Modesty on Saudi Arabian Television View PDF for article titled, Shampoo: Editing, Advertising, and Codes of Modesty on Saudi Arabian Television
Journal Article

The Imaginary Archive: Current Practice

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Tess L. Takahashi
Camera Obscura (2007) 22 (3 (66)): 179–184.
DOI: https://doi.org/10.1215/02705346-2007-019
Published: 01 December 2007
... for the forgotten individuals attached to official historical records — an Iranian CIA informant from the 1970s, drowned Cold War Soviet submariners for whom no records exist, and those unknown individuals killed in an otherwise unremark- able bombing in present-day Yemen. In their Speculative Archive...
View articletitled, The Imaginary Archive: Current Practice View PDF for article titled, The Imaginary Archive: Current Practice
Journal Article

Books Received

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Camera Obscura (1993) 11 (1 (31)): 149–151.
DOI: https://doi.org/10.1215/02705346-11-1_31-149
Published: 01 May 1993
... Encounters in the Americas edited by John King, Ana M. Lopez, Manuel Alvarado. Indiana University Press, 1993. $21.95. The Making of Exile Cultures: Iranian Television in Los Angeles by Hamid Naficy. University of Minnesota Press, 1993. The Matter of Images...
View articletitled, Books Received View PDF for article titled, Books Received
Image
Figure 3. Two photographs of groups of women, mid-/late nineteenth century, Golestan Collection, Institute for Iranian Contemporary Historical Studies. ‘Ismat poses at the center of both photographs. Inscription in the left photograph a reads, “Taj al-Dawlah wife of Nasir al-Din Shah, ‘Ismat al-Dawlah, Khanum Fakhr Taj”

Two photographs of groups of women, mid-/late nineteenth century, Golestan ...

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in Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet > Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2022
Figure 3. Two photographs of groups of women, mid-/late nineteenth century, Golestan Collection, Institute for Iranian Contemporary Historical Studies. ‘Ismat poses at the center of both photographs. Inscription in the left photograph a reads, “Taj al-Dawlah wife of Nasir al-Din Shah, ‘Ismat al More
Image
Figure 2. Three photographs of ‘Ismat, mid-/late nineteenth- century, Golestan Collection, Institute for Iranian Contemporary Historical Studies. Inscription in the left photograph reads, “Deceased ‘Ismat al-Dawlah, elder daughter of Nasir al-Din Shah, wife of deceased Dust Muhammad Khan Mu‘ayyir al-Mamalik, grandmother of myself, [Nayyir?] Mu‘ayyiri.” Inscription in the center printed in English: “Douste Mohammed Khan, Tehran.” Inscription in the right reads, “Khanum ‘Ismat al-Dawlah daughter of Nasir al-Din Shah, wife of Dust Muhammad Khan Mu‘ayyir al-Mamlik”

Three photographs of ‘Ismat, mid-/late nineteenth- century, Golestan Collec...

Available to Purchase
in Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet > Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2022
Figure 2. Three photographs of ‘Ismat, mid-/late nineteenth- century, Golestan Collection, Institute for Iranian Contemporary Historical Studies. Inscription in the left photograph reads, “Deceased ‘Ismat al-Dawlah, elder daughter of Nasir al-Din Shah, wife of deceased Dust Muhammad Khan Mu‘ayyir More
Journal Article

Queer/Palestinian Cinema: A Critical Conversation on Palestinian Queer and Women's Filmmaking

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Colleen Jankovic, Nadia Awad
Camera Obscura (2012) 27 (2 (80)): 135–143.
DOI: https://doi.org/10.1215/02705346-1597231
Published: 01 September 2012
.... Referencing Bruce LaBruce’s SkinFlick, in which a skinhead masturbates while reading Mein Kampf, the video depicts a young man masturbating to a picture that turns out to be Iranian presi- dent Mahmoud Ahmedinejad. AbuAsad’s video unapologetically confronts viewers with the desiring embodiment...
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Journal Article

What Is That and between Arab Women and Video? The Case of Beirut

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Laura U. Marks
Camera Obscura (2003) 18 (3 (54)): 41–69.
DOI: https://doi.org/10.1215/02705346-18-3_54-41
Published: 01 December 2003
... of theater and French literature; Farah Dakhlallah, a Lebanese studying film at FEMIS in France; and Ghazel, who, as an established Iranian video artist, seemed an odd fit. While the participants in Transit Visa produced one-minute videos during the week, what is most fascinating about the project is its...
View articletitled, What Is That and between Arab Women and Video? The Case of Beirut View PDF for article titled, What Is That and between Arab Women and Video? The Case of Beirut
Journal Article

Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics

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Kata Kyrölä
Camera Obscura (2023) 38 (3 (114)): 77–105.
DOI: https://doi.org/10.1215/02705346-10772589
Published: 01 December 2023
... colonialism in Nordic countries as well as globally, particularly in connection to gender nonconformity and the category of the human. Border , directed by the Iranian-born, Denmark-based Ali Abbasi and based on a short story by the Swedish horror writer John Ajvide Lindqvist, speaks to queer Indigenous...
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Journal Article

Humanity Adrift: Race, Materiality, and Allegory in Alfonso Cuarón's Children of Men

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Zahid R. Chaudhary
Camera Obscura (2009) 24 (3 (72)): 73–109.
DOI: https://doi.org/10.1215/02705346-2009-010
Published: 01 December 2009
... to make sense as the chase sequence unfolds. While the camera tracks Marichka, Kee, and Theo from the back, they run directly into a scene lifted from news imagery of a Palestinian or possibly Iranian march, complete with a dead body being carried. The loss of the referent here is precisely...
View articletitled, Humanity Adrift: Race, Materiality, and Allegory in Alfonso Cuarón's Children of Men View PDF for article titled, Humanity Adrift: Race, Materiality, and Allegory in Alfonso Cuarón's Children of Men
Journal Article

On the Cutting Edge: Cosmetic Surgery and the Technological Production of the Gendered Body

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Anne Balsamo
Camera Obscura (1992) 10 (1 (28)): 206–237.
DOI: https://doi.org/10.1215/02705346-10-1_28-206
Published: 01 January 1992
.... 26. Ann Louise Bardach also reports that many Iranian women reportedly seek to replace their “strong arched noses” with small pert upturned ones. “The Dark Side of Cosmetic Surgery: Long Term Risks are Becoming Increasingly Apparent,” The New York Times Magazine...
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Journal Article

Pretty: Film Theory, Aesthetics, and the History of the Troublesome Image

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Rosalind Galt
Camera Obscura (2009) 24 (2 (71)): 1–41.
DOI: https://doi.org/10.1215/02705346-2009-001
Published: 01 September 2009
... ironically often valorizes the foreign, underlying the work of canon forma- tion around film movements that emphasize transitory life, such as Italian neorealism and Iranian art film. Just as, for Loos, the art nouveau house means “living with one’s own corpse,” for film theory, the pretty...
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Journal Article

Turkish Cinema in the New Europe: Visualizing Ethnic Conflict in Sinan Çetin's Berlin in Berlin

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Angelica Fenner
Camera Obscura (2000) 15 (2 (44)): 105–149.
DOI: https://doi.org/10.1215/02705346-15-2_44-105
Published: 01 September 2000
...” as submissive by-product of Islamic patriarchy. German- ist scholar Leslie Adelson struggles with a similar problematic in her reading of the novel Tufan: Brief an einen islamischen Bruder, by the Iranian German author publishing under the singular pseu...
View articletitled, Turkish Cinema in the New Europe: Visualizing Ethnic Conflict in Sinan Çetin's Berlin in Berlin View PDF for article titled, Turkish Cinema in the New Europe: Visualizing Ethnic Conflict in Sinan Çetin's Berlin in Berlin