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Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 28–39.
Published: 01 December 1989
...Giuliana Bruno Copyright © 1990 by The Johns Hopkins University Press 1989 ADDITIONAL REFERENCES Adriano , Aprà , and Patrizia Pistagnesi, eds. Comedy, Italian Style 1950–80 . Turin: ERI-Edizioni Rai Radiotelevisione Italiana, 1986 . Brunetta , Gian Piero . Storia del...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 159–191.
Published: 01 December 2008
...Robert A. Rushing The Italian peplum film (sometimes called the sword-and-sandals film) enjoyed a brief but intense vogue from about 1957 to 1965. Over three hundred of these films were made following the same basic model: a bodybuilding celebrity (Steve Reeves, Reg Park) was cast as a heroic...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 177–183.
Published: 01 December 2016
... focuses on the censorship of femininity and sexuality in Italian cinema in the 1950s and 1960s. For the project, Radha May retrieved censored scenes that had never been seen in public and created a film installation, a performance, and a digital publication. She distributed the recovered material further...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 1–27.
Published: 01 May 2018
... production. Although Turkish film producers first adapted European exploitation films (particularly Italian erotic comedies), in time they created a trashy and irregular film practice addressing the specific needs of its assumed audience: young, unemployed, underclass men with rural backgrounds. The article...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 101–127.
Published: 01 May 2015
...Misha Kavka Perhaps no reality TV program has been as roundly criticized for bad behavior as Jersey Shore (MTV, 2009–12). The libidinal license exhibited by the cast, as well as the early controversy regarding the show's use of the terms guido and guidette to describe the Italian American cast...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 31–57.
Published: 01 May 2019
... and technical specifics involved in creating Akerman’s no-budget films in New York compared to the constraints that would have faced a new filmmaker in France or Belgium at the time. The original 1995 interview was published in Italian for the Pesaro Film Festival. It has been substantially reworked...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 115–147.
Published: 01 May 2022
... that a non‐spectral new woman, Lidia, faces at a particular juncture in Italian history. Her initial flânerie , in which she attempts to dissolve her bourgeois identity‐property, fails as she becomes conscious that what seems to be the space of indeterminacy and becoming is in fact a thoroughly organized...
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Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 137–141.
Published: 01 December 1989
... of the representation of sexual difference in Italian cinema as a national cinema. The question I have been asking is: in what ways does the representation of Italian history and daily life bind viewing subjects characterized by the concrete experience of regional, class and sexual difference to an abstract...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
... for Night was shot in France by a French director with a largely French cast and crew with the key exceptions of the Italian actress Valentina Cortese and the British actors David Markham and Jacqueline Bisset; their presence registers the fact that Day...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 103–107.
Published: 01 December 1989
... reading of the text become part of the transformed ideology that 103 empowers the social group. Department of Radio, Television and Motion Pictures University of North Carolina at Chapel Hill Giuliana Bruno As an Italian writer living these past...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 132–137.
Published: 01 December 1989
... of Silence. The reasons for this difference are obviously extremely complex and require a separate analysis. Angela Dalle-Vacche My interest in female spectatorship is most recent. Until now I have been working on the problem of the representation of sexual difference in Italian cinema...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 130–137.
Published: 01 January 1990
...Dana Polan eviews History in the Battle of Voices Dana Polan In the diversity of methods and objects of analysis it offers, Clues, Myths, and the Historical Method, a collection of essays by Carlo Ginzburg, offers a fresh perspective on this Italian historian who has become...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 211–215.
Published: 01 May 1979
... of Anna’s recorded phone messages is a woman’s voice asking plaintively, first in Italian, then in English, “Anna, where are you At first in these casual person-to-person encounters (for they are more often rencontres, chance encounters, than rendez-vous, planned meetings...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 140–142.
Published: 01 May 1976
... because of the Moses & Aaron dedi- cation to Holgar Meins and from Italian TV because of the political chaos preceeding the recent election. So, they have borrowed from some of the same friends who lent them money over ten yearsago for Not Reconciled. Their new film...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 1–9.
Published: 01 September 2007
... Dalle Vacche says about early twentieth-century Italian silent screen divas, they were “a mixture of the femme fatale of the previous century and the ‘new’ woman of modernity, of the enigmatic sphinx and the suffragette wearing pants.”1 But in their struggles and triumphs — whether...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 46–63.
Published: 01 September 1990
...- tional: The unseen female narrator with an Italian accent who gives us the biographical facts, who contextualizes, whom we ridiculously trust because she begins by telling us: “Opera buffa, farsa, opera comica, melodrama burlesca. The world has changed, like Donizetti without Lucia. History...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... of one's own death (Varda). Domietta Torlasco works at the intersection of film theory and practice and is currently an assistant professor of Italian and comparative literature at Northwestern University. She is the author of The Time of the Crime: Phenomenology, Psychoanalysis, Italian Film...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 223–233.
Published: 01 December 1982
... with conceptual honors of the con- ference. One was Michael Silverman, who began his paper, “Italian Film and American Capital, 1947-51 with an extremely useful gloss (ignored for the rest of the conference) of several positions on his- tory, including Bazin’s idealism...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 77–111.
Published: 01 May 2007
...Domietta Torlasco Camera Obscura 2007 Domietta Torlasco is a Harper-Schmidt Fellow and an assistant professor in the Humanities Collegiate Division at the University of Chicago. Her book, The Time of the Crime: Phenomenology, Psychoanalysis, Italian Film , is forthcoming from Stanford...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 155–157.
Published: 01 September 1995
...: Orientalism in Film edited by Matthew Bernstein and Gaylyn Studlar. Rutgers University Press, 1997. $18.95. Italian National Cinema by Pierre Sorlin. Routledge, 1996. $17.95. Extraordinary Bodies: Figuring Physical Disability in American Cultwe and Literature by Rosemarie Garland Thomson. Columbia...