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Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
...Catherine Russell Camera Obscura 2005 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. The front page of the program for Woman of Tokyo (Tokyo no on’na, dir. Ozu Yasujiro, Japan, 1933) distributed at the film’s...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 57–89.
Published: 01 December 2005
... Ethnography: The Work of Film in the Age of Video (1999). She has also published numerous articles on video art, Canadian film, and Japanese cinema. See www.cinema.concordia.ca/russell/ . Chiba Sachiko in Wife! Be Like a Rose! (Tsuma yo bara no yo ni) (dir. Naruse Mikio, Japan, 1935) Naruse Mikio’s...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 139–159.
Published: 01 September 2009
...K K Seet The rarely analyzed Asian horror film, which has had great impact on international film audiences recently as a result of Hollywood remakes, is increasingly mired in the milieu of home and hearth, leading to a new Asian variation of the domestic gothic. With specific reference to Japan's...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
...Akiko Mizoguchi Midori Sawato has become the top benshi in Japan since her debut in 1973, having performed at numerous venues in and outside of her country. A benshi is a performer who provides both the expository narration and the voices for on-screen characters for silent films. When Sawato...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 33–63.
Published: 01 September 2021
...Jasmine Hu Abstract The Japanese annexation of Korea (1910–45) implicates a crisis of representation in South Korean national history. Both the traumatic wounds and complex intimacies of Japan's rule over its Korean subjects were met with postcolonial suppression, censorship, and disavowal...
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Journal Article
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
...Anne McKnight This essay considers how ideas about liberation flourished in Japanese sex films in the 1970s by exploring the genre of the housewife film as it traverses industrial contexts. Liberation was abandoned by melancholic male intellectuals after the 1970 failure to halt Japan's military...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 61–89.
Published: 01 May 2022
... ( Banshun , Japan, 1949), the film's narrative premise traces the strong bond between a widower and his adult daughter. Most critical assessments of the film thus interpret 35 Shots of Rum as an homage to Ozu, seeing the daughter's love for her father as a reflection of Denis's devotion to the Japanese...
FIGURES | View All (4)
Journal Article
Camera Obscura (2009) 24 (2 (71)): 43–75.
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...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 173–201.
Published: 01 December 2023
...Lou Silhol-Macher Abstract This article traces the role of frames in suspending the self in Lovely Andrea (Japan/Austria/Germany), a video essay by Hito Steyerl presented at Documenta 12 in 2007. A seldom‐analyzed artwork within Steyerl's otherwise widely circulating and discussed oeuvre, Lovely...
FIGURES | View All (11)
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Published: 01 September 2021
Figure 4. An erotic act leading to asphyxiation and violence in In the Realm of the Senses ( Ai no korîda , dir. Nagisa Ōshima, Japan, 1976) More
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Published: 01 December 2023
Figure 4. The “Lovely Andrea” pictures are found. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 3. Filming back at the TV crew in the Sex Archive. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 6. The tied-up legs of a bondage model in a 2007 photo shoot. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 9. “Two feelings at the same time.” Ageha performing self-suspension. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 11. Telescopic frames and image grafting. Spider-Woman in the control room. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 1. “This was her friends [ sic ] name . . . ” Close-up of Hito Steyerl's bondage pictures. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 2. “What is your film about?” Hito Steyerl interviewed in the opening shot of the film. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 10. Self-suspension in reverse. Ageha's hair flows up as she hangs upside down. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 8. Inserts from Steve and Ageha's bondage performance, Spider-Man , and the Abu Ghraib picture at Tanaka Kinichi's studio. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More
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Published: 01 December 2023
Figure 7. “You are connected to other people through the net.” Osada Steve's words as Spider-Man weaves his way through Manhattan. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist More