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The picture of Xia Shuqin taken by John Magee, 1937. Courtesy of Chris Mage...
Available to Purchase
in “A More Personal Look at Her Life”: Family Narrative, Gender, and Transnational Memories in The Girl and the Picture
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2022
Figure 1. The picture of Xia Shuqin taken by John Magee, 1937. Courtesy of Chris Magee
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Journal Article
John Waters's Vulgarity: Trash Cinema, Serial Mom , and the Politics of Abjection
Available to Purchase
Camera Obscura (2025) 40 (1 (118)): iv–27.
Published: 01 May 2025
...Ashley T. Shelden Abstract This article puts John Waters into conversation with Julia Kristeva and Jacques Lacan, shedding new light on the political significance of the abject in Waters's trash cinema. The argument focuses on Waters's uses of the abject in both his early “transgressive” films...
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in John Waters's Vulgarity: Trash Cinema, Serial Mom , and the Politics of Abjection
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2025
Figure 2. “She would hurt a fly.” Serial Mom (dir. John Waters, US, 1994)
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Image
in John Waters's Vulgarity: Trash Cinema, Serial Mom , and the Politics of Abjection
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2025
Figure 4. Suburban junk. Serial Mom (dir. John Waters, US, 1994)
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Journal Article
From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
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Camera Obscura (2021) 36 (1 (106)): 155–185.
Published: 01 May 2021
...Matt St. John Abstract This article explores the Instagram activities of Agnès Varda and her Visages Villages ( Faces Places , France, 2017) codirector JR to consider the role of social media in the film's theatrical release and awards campaign, which led to the film's nomination for Best...
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Journal Article
Lifetime's Feminine Psychographic Space and the “Mystery Loves Company” Series
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Camera Obscura (1994) 11-12 (3-1 (33-34)): 42–75.
Published: 01 May 1994
...,” Boxed In: Women and
Television, eds. Helen Baehr and Gillian Dyer (London and New York:
Pandora Press, 1987) 203-225.
35. As of 1993, men were cited as holding most of the executive positions
at Lifetime. See John Dempsey, “Lifetime Cable: Sugar or Spice?” Va-
riety 24 May 1993...
Journal Article
The Jewish Closet in Europa, Europa
Available to Purchase
Camera Obscura (2003) 18 (1 (52)): 1–33.
Published: 01 May 2003
..., “On Reading Poetry: Reflections on the
Limits and Possibilities of Psychoanalytic Approaches,” in The
Purloined Poe: Lacan, Derrida, and Psychoanalytic Reading, ed. John
P. Muller and William J. Richardson (Baltimore, MD: Johns
Hopkins University Press, 1988), 133–56.
3. Eve...
Journal Article
A Permeable Practice: Shortbus and the Politics of Cinematic Collaboration
Available to Purchase
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
...Corinn Columpar This article explores the role of collaboration, embodiment, and performance in John Cameron Mitchell's Shortbus (US, 2006). It takes its cue from a particularly provocative scene in the film in which a former New York City mayor suggests that it is New Yorkers' “permeability...
Journal Article
Trauma, Shame, and Men's Tears in The Manchurian Candidate
Available to Purchase
Camera Obscura (2017) 32 (2 (95)): 63–87.
Published: 01 September 2017
...Joy McEntee Charles S. Young and Susan L. Carruthers describe John Frankenheimer's The Manchurian Candidate (US, 1962) as a prisoner-of-war film. This article argues that, as such, it stages the responses of its male protagonists to trauma. Focusing on weeping, the article examines...
Journal Article
“Cast Off the Shackles of Yesterday”: Women’s Suffrage in Walt Disney’s Mary Poppins
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Camera Obscura (2018) 33 (2 (98)): 69–103.
Published: 01 September 2018
... in Richard M. Sherman and Robert B. Sherman’s song “Sister Suffragette,” highlights some of the most significant and problematic pro-suffrage tactics developed in Britain and the US. It also reveals the characterization of Mrs. Banks (Glynis Johns) to be deeply influenced by misogynistic anti-suffrage...
Journal Article
Ethical Whiteness and the Death Drive: White Women as the New War Hero
Available to Purchase
Camera Obscura (2020) 35 (1 (103)): 109–137.
Published: 01 May 2020
...Moon Charania This article looks at two controversial war films— Eye in the Sky (dir. Gavin Hood, UK/South Africa, 2015) and Whiskey Tango Foxtrot (dir. Glenn Ficarra and John Requa, US, 2016)—both of which feature white female protagonists as conflicted but central participants in the racialized...
Journal Article
Horror Cities: Contesting the Ruins of Capitalism in Contemporary Genre Cinema
Available to Purchase
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
.... Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished...
Journal Article
The Front Lawn of Heaven: Landscape in Hollywood Melodrama circa 1945
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Camera Obscura (2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
.... This article focuses on one of the most commercially successful Hollywood films of 1946, John M. Stahl's Leave Her to Heaven, arguing that the film's spectacular Technicolor landscapes function as a melodramatic device for mediating ambivalence about the social role of women at that time. In this film, scenes...
Journal Article
Berlin Alexanderplatz 's Serial Women
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Camera Obscura (2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
...Jill Richards Critics of Berlin Alexanderplatz (WDR, West Germany, 1980) most often focus on the extended love plot between Franz (GĂĽnther Lamprecht) and Reinhold (Gottfried John). This focus is not surprising, given that the vexed relationship between Rainer Werner Fassbinder's leading men...
Journal Article
Occult Anxieties and the Recessionary Imaginary in the Paranormal Activity Franchise
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Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
... imaginary and constitutes a contemporary horror subcycle wherein the well-worn idiom of trauma is replaced by more abstract and disembodied threats. In dialogue with Jean Comaroff and John L. Comaroff's concept of “occult economies,” this article explores the ways in which the franchise's found-footage...
Journal Article
Queer Film Settings as Sites of Resistance
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Camera Obscura (2020) 35 (2 (104)): 95–123.
Published: 01 September 2020
...Serdar Küçük The following article investigates the origins and functions of particular settings in queer films by examining four examples from different national contexts: Shortbus (dir. John Cameron Mitchell, US, 2006), Weekend (dir. Andrew Haigh, UK, 2011), Stranger by the Lake ( L’inconnu du...
Journal Article
Bodies in Water: Disability Cinemas and Creatures of the Sea
Available to Purchase
Camera Obscura (2022) 37 (3 (111)): 115–143.
Published: 01 December 2022
..., to produce discontinuous and immaterial forms of life, and, in so doing, to challenge dominant notions of embodiment and wholeness. Drawing on contemporary work in disability theory as well as the writings of John Berger, Maurice Merleau-Ponty, and Gilles Deleuze, the author offers a reading of these films...
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in John Waters's Vulgarity: Trash Cinema, Serial Mom , and the Politics of Abjection
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2025
Figure 3. Suburban affects: disgust, contempt, and enjoyment- joy. Multiple Maniacs (dir. John Waters, US, 1970)
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Image
in Carolee Schneemann (1939–2019): Portfolio
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 9. Water Light/Water Needle (1966). St. Mark's Church in-the-Bowery, New York. Photograph by John Weber
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Image
in John Waters's Vulgarity: Trash Cinema, Serial Mom , and the Politics of Abjection
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2025
Figure 1. The garbage men, Sloppy and Gus, share murderous fantasies with Beverly. Serial Mom (dir. John Waters, US, 1994)
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