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Figure 1. The picture of Xia Shuqin taken by John Magee, 1937. Courtesy of Chris Magee

The picture of Xia Shuqin taken by John Magee, 1937. Courtesy of Chris Mage...

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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 More
Journal Article

John Waters's Vulgarity: Trash Cinema, Serial Mom , and the Politics of Abjection

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Ashley T. Shelden
Camera Obscura (2025) 40 (1 (118)): iv–27.
DOI: https://doi.org/10.1215/02705346-11606544
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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View articletitled, <span class="search-highlight">John</span> Waters&#x27;s Vulgarity: Trash Cinema, Serial Mom , and the Politics of Abjection View PDF for article titled, <span class="search-highlight">John</span> Waters&#x27;s Vulgarity: Trash Cinema, Serial Mom , and the Politics of Abjection
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The gory remains of a swatted fly. “Written and Directed by John Waters” appears beneath the fly.

“She would hurt a fly.” Serial Mom (dir. John Waters, US, 1994)

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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) More
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A busy indoor flea market. In the foreground, there is an amateur painting of Don Knotts, in which he has dark hair and is wearing a fedora. In the middle ground a young white couple shops. They are looking at a table filled with small objects. In the background there are other tables and shoppers milling about the flea market.

Suburban junk. Serial Mom (dir. John Waters, US, 1994)

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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 4. Suburban junk. Serial Mom (dir. John Waters, US, 1994) More
Journal Article

From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram

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Matt St. John
Camera Obscura (2021) 36 (1 (106)): 155–185.
DOI: https://doi.org/10.1215/02705346-8838589
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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View articletitled, From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram View PDF for article titled, From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
Journal Article

Lifetime's Feminine Psychographic Space and the “Mystery Loves Company” Series

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Eithne Johnson
Camera Obscura (1994) 11-12 (3-1 (33-34)): 42–75.
DOI: https://doi.org/10.1215/02705346-11-12-3-1_33-34-42
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...
View articletitled, Lifetime's Feminine Psychographic Space and the “Mystery Loves Company” Series View PDF for article titled, Lifetime's Feminine Psychographic Space and the “Mystery Loves Company” Series
Journal Article

The Jewish Closet in Europa, Europa

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Ruth D. Johnston
Camera Obscura (2003) 18 (1 (52)): 1–33.
DOI: https://doi.org/10.1215/02705346-18-1_52-1
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...
View articletitled, The Jewish Closet in Europa, Europa View PDF for article titled, The Jewish Closet in Europa, Europa
Journal Article

A Permeable Practice: Shortbus and the Politics of Cinematic Collaboration

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Corinn Columpar
Camera Obscura (2016) 31 (1 (91)): 5–25.
DOI: https://doi.org/10.1215/02705346-3454507
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...
View articletitled, A Permeable Practice: Shortbus and the Politics of Cinematic Collaboration View PDF for article titled, A Permeable Practice: Shortbus and the Politics of Cinematic Collaboration
Journal Article

Trauma, Shame, and Men's Tears in The Manchurian Candidate

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Joy McEntee
Camera Obscura (2017) 32 (2 (95)): 63–87.
DOI: https://doi.org/10.1215/02705346-3924650
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...
View articletitled, Trauma, Shame, and Men's Tears in The Manchurian Candidate View PDF for article titled, Trauma, Shame, and Men's Tears in The Manchurian Candidate
Journal Article

“Cast Off the Shackles of Yesterday”: Women’s Suffrage in Walt Disney’s Mary Poppins

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Ana Stevenson
Camera Obscura (2018) 33 (2 (98)): 69–103.
DOI: https://doi.org/10.1215/02705346-6923118
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...
View articletitled, “Cast Off the Shackles of Yesterday”: Women’s Suffrage in Walt Disney’s Mary Poppins View PDF for article titled, “Cast Off the Shackles of Yesterday”: Women’s Suffrage in Walt Disney’s Mary Poppins
Journal Article

Ethical Whiteness and the Death Drive: White Women as the New War Hero

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Moon Charania
Camera Obscura (2020) 35 (1 (103)): 109–137.
DOI: https://doi.org/10.1215/02705346-8085135
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...
View articletitled, Ethical Whiteness and the Death Drive: White Women as the New War Hero View PDF for article titled, Ethical Whiteness and the Death Drive: White Women as the New War Hero
Journal Article

Horror Cities: Contesting the Ruins of Capitalism in Contemporary Genre Cinema

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Benjamin Balthaser
Camera Obscura (2020) 35 (1 (103)): 139–159.
DOI: https://doi.org/10.1215/02705346-8085147
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...
View articletitled, Horror Cities: Contesting the Ruins of Capitalism in Contemporary Genre Cinema View PDF for article titled, Horror Cities: Contesting the Ruins of Capitalism in Contemporary Genre Cinema
Journal Article

The Front Lawn of Heaven: Landscape in Hollywood Melodrama circa 1945

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Jennifer Peterson
Camera Obscura (2010) 25 (2 (74)): 119–159.
DOI: https://doi.org/10.1215/02705346-2010-004
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...
View articletitled, The Front Lawn of Heaven: Landscape in Hollywood Melodrama circa 1945 View PDF for article titled, The Front Lawn of Heaven: Landscape in Hollywood Melodrama circa 1945
Journal Article

Berlin Alexanderplatz 's Serial Women

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Jill Richards
Camera Obscura (2013) 28 (3 (84)): 67–101.
DOI: https://doi.org/10.1215/02705346-2352158
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...
View articletitled, Berlin Alexanderplatz 's Serial Women View PDF for article titled, Berlin Alexanderplatz 's Serial Women
Journal Article

Occult Anxieties and the Recessionary Imaginary in the Paranormal Activity Franchise

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Linda Liu
Camera Obscura (2015) 30 (3 (90)): 61–91.
DOI: https://doi.org/10.1215/02705346-3160652
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...
View articletitled, Occult Anxieties and the Recessionary Imaginary in the Paranormal Activity Franchise View PDF for article titled, Occult Anxieties and the Recessionary Imaginary in the Paranormal Activity Franchise
Journal Article

Queer Film Settings as Sites of Resistance

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Serdar Küçük
Camera Obscura (2020) 35 (2 (104)): 95–123.
DOI: https://doi.org/10.1215/02705346-8359530
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...
View articletitled, Queer Film Settings as Sites of Resistance View PDF for article titled, Queer Film Settings as Sites of Resistance
Journal Article

Bodies in Water: Disability Cinemas and Creatures of the Sea

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Emma Ben Ayoun
Camera Obscura (2022) 37 (3 (111)): 115–143.
DOI: https://doi.org/10.1215/02705346-10013646
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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View articletitled, Bodies in Water: Disability Cinemas and Creatures of the Sea View PDF for article titled, Bodies in Water: Disability Cinemas and Creatures of the Sea
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Five white, clean-cut youths — two men and three women — inside a carnival tent. Four are looking just to the left of the camera, and we can clearly see their faces. One, on the far right, is turned away from the camera, and he is looking at his four friends. The four faces that are clearly visible show a variety of expressions, ranging from happy to disgusted.

Suburban affects: disgust, contempt, and enjoyment- joy. Multiple Maniac...

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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) More
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Figure 9. Water Light/Water Needle (1966). St. Mark's Church in-the-Bowery, New York. Photograph by John Weber

Water Light/Water Needle (1966). St. Mark's Church in-the-Bowery, New York...

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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 More
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Two men, one white and one Black, with intense facial expressions, standing in front of a backdrop of trees. The Black man mimes a slicing motion across his throat, and the white man looks at him while holding a miniature bottle of alcohol.

The garbage men, Sloppy and Gus, share murderous fantasies with Beverly. S...

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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 1. The garbage men, Sloppy and Gus, share murderous fantasies with Beverly. Serial Mom (dir. John Waters, US, 1994) More