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Journal Article
Camera Obscura (1983) 4 (2 (11)): 102–110.
Published: 01 September 1983
...Lea Jacobs Fredric Jameson. The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca: Cornell University Press, 1981) © 1983 by Camera Obscura 1983 Book Reviews Nina and the Book (Nosferatu, F.W. Murnau, 1922) The Political...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 215–234.
Published: 01 September 1985
..., and as the introductory chapter explains, she wants to use 223 Frederic Jameson’s “Reification and Utopia in Mass Culture.” 14 In that article Jameson took issue with Frankfurt School theory by arguing that mass art does not simply serve the interests of capitalism; it also criticizes and negates the social...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 67–79.
Published: 01 September 1988
... of the postmodern debate is because it has been conducted among what is largely a male constellation. Habermas, Lyotard, Jameson, Rorty, Jencks have formed the register of requisite footnotes which delimit the debate. As initial authorities on the postmodern they have determined the terms...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 155–186.
Published: 01 January 1996
... their alterity. This is in stark contrast to perspectives that conveniently dissipate the problem of cultural difference into either "situational" expressions of a global allegory of the modern (Jameson) or, at best, "hybrid" stories of post-colonial consciousness (Bhabha...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 174–178.
Published: 01 September 1991
... by Tom Gunning. University of Illinois Press, 1991. $42.50. Signatures of the Visible by Fredric Jameson. Routledge, 1990. $25.00. Explorations in Film Theory: Selected Essays from Cink-Tracts edited by Ron Burnett. Indiana University Press, 1991. $14.95. Issues in Feminist Film Criticism...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 179–183.
Published: 01 December 1989
... as a Latin lover during the years of the notorious Sacco and Vanzetti case. Was this just a coincidence? As Fredric Jameson argues in The Political Unconscious (1981),history is a subtext repressed or denied by the text and can be grasped as a “symbolic move in an essentially...
Journal Article
Camera Obscura (2006) 21 (2 (62)): 108–143.
Published: 01 September 2006
.../Postmodern? In addition to the nonlinear narrative elements I have mentioned, postmodern film style is characterized by formalism, pastiche, and overcoded citations of filmic and cultural moments that in Fredric Jameson’s terms engender a “nostalgia for the present.”5 In other words...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 99–131.
Published: 01 December 2016
... as its output.  — Anthony Stafford Beer, Designing Freedom What is important in a Utopia is not what can be positively imagined and proposed, but rather what is not imaginable and not conceivable.  — Fredric Jameson, “Utopia as Replication” Attempts to formalize a relationship between...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 76–101.
Published: 01 May 1994
... set of objects, clothing, etc., as a manifestation of, or even the ontological essence of, the self. In these ways, subjectivity still acts 95 as an organizationaVjuridicaVmarketing strategy, despite what Jameson describes as the “death of the subject” in postmodernism. “[N]obody,” he writes...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 11–37.
Published: 01 September 2007
... camp to Fredric Jameson’s “blank parody,” she does not consider the role of camp in the text of postmodernism itself, instead labeling such comparisons “ahistorical.”28 Although Andy Warhol plays a pivotal role in Jameson’s description of the postmod- ern aesthetic in his famous essay (whose...
Journal Article
Camera Obscura (2024) 39 (2 (116)): 71–102.
Published: 01 September 2024
... “scopophilic” theory of male-gaze “visual pleasure.” See Mulvey, “Visual Pleasure and Narrative Cinema,” in Feminist Film Theory: A Reader , ed. Sue Thornham (Edinburgh: Edinburgh University Press, 1999), 58–69. 13. See Jameson, Postmodernism , 50–51. See also Alberto Toscano and Jeff Kinkle, C...
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Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
..., US, 2009); a role in an award-­winning film in the Best Anal Sex Scene category (Anal Cavity Search 6 [dir. Erik Everhard, US, 2008 and the Jenna Jameson Crossover Star of the Year award. The next year, a very different star stands on another red car- pet. This time it is Los Angeles...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 156.
Published: 01 September 1988
.... $13.95. TheIdeologies ofHistory:Essays 1971-1986. Volume I: Situations ofTheory; Volume II: Syntax of History by Fredric Jameson. University of Minnesota Press, 1988. $12.95 each. The College of Sociology (1937-39) edited by Denis Hollier. University of Minnesota...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 111–135.
Published: 01 December 2008
...- larly in this instance, has to do with mediation and is at least as old as Freud: how can we coordinate the public and the private, the social and the psychic? As Fredric Jameson points out, Freud intro- duces this particular problematic as early as in “Creative Writers and Daydreaming,” in which...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 226–242.
Published: 01 May 1997
..., ca ble-laden facility disorient and disperse their human subjects. Like Jameson’s observations about “postmodern hyperspace,” these hallways transcend “the capacities of the individ- ual human body to locate itself, to organize its immediate surround- ings perceptually, and cognitively...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 8–27.
Published: 01 January 1990
... of the spectator-subject). As Fredric Jameson has remarked, there are always two historicities, two paths of historical inquiry: “the path of the object, and the path of the subject, the historical origins of the things themselves and that more intangible historicity of the concepts...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 155–168.
Published: 01 May 1988
.... Fredric Jameson has taught us to think of the products of mass culture in terms of reification and utopia, the two poles of a dialectic at work in every text simultane~usly.~Much as Walter Benjamin argued that there is no document of culture that is not at the same time...
Journal Article
Camera Obscura (2000) 15 (2 (44)): 105–149.
Published: 01 September 2000
... a particular vision of gendered rela- tionships and his claim to the unreciprocating object of his desire. It would thus be tempting to think of Çetin’s film as proffering ele- ments of what Frederic Jameson has termed “national allegories.” Jameson coins...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 149–187.
Published: 01 May 2002
... decon- structive text, depicting individuals and centers as “necessary fail- ures” that, as Fredric Jameson explains, “inscribe the particular postmodern project back into its context, while at the same time reopening the question of the modern itself for reexamination.”7 At the end of the film...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 128–153.
Published: 01 January 1988
.... III. Simulated Sentiment It is not surprising that today's media-saturated society has been linked, in Mulvey's analysis for example, to the end of melodrama. As Fredric Jameson remarks, postmodernism is repeatedly marked by such "senses of the end of this or that the hypothesis of some...