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Journal Article
Camera Obscura (2015) 30 (1 (88)): 11–39.
Published: 01 May 2015
... and dispersed in ambivalent representations and interpretations across the mediascape. Due to its combinatory nature and gendered valences, we call this concept the transmediated grotesque . We build this discussion around three reality celebrity case studies: Kate Gosselin, star of TLC's Jon and Kate...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 148–165.
Published: 01 September 1991
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 296–320.
Published: 01 September 1991
Journal Article
Camera Obscura (2007) 22 (1 (64)): 113–135.
Published: 01 May 2007
... further consideration. In spite of its rather wide- Vince (Ethan Hawke) taunts Jon (Robert Sean Leonard) in Tape (dir. Richard Linklater, US, 2001) Camera Obscura 64, Volume 22, Number 1 doi 10.1215/02705346-2006-022  © 2007 by Camera Obscura Published by Duke University Press 113...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 180–181.
Published: 01 May 2001
..., 2000. Lewis, Jon. Hollywood v. Hardcore: How the Struggle Over Censorship Created the Modern Film Industry. New York: New York University Press, 2000. Limon, John. Stand-up Comedy in Theory, or Abjection in America...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 230–231.
Published: 01 September 2001
... Minnesota Press, 2000. Lewis, Jon. Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry. New York: New York University Press, 2000. Liu, Catherine. Copying Machines: Taking Notes for the Automaton. Minneapolis: University of Minnesota Press, 2000...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 218–219.
Published: 01 September 2002
.... Cyberculture. Trans. Robert Bononno. Minneapolis: University of Minnesota Press, 2001. 218 Books Received • 219 Lewis, Jon. The End of Cinema As We Know It: American Film in the Nineties. New York: New York University Press, 2001. Loshitzky...
Journal Article
Camera Obscura (1996) 13 (2 (38)): 188–189.
Published: 01 May 1996
... Modernity: A Visual Economy ofthe Andean Image World by Deborah Poole. Princeton University Press, 1997. $69.50. Whom God Wishes to Destroy: Francis Coppola and the New Hollywood by Jon Lewis. Duke University Press, 1995. $23.95. Copyright © 1995 by Indiana University Press 1996 ...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 180–182.
Published: 01 December 2002
... Obscura Sarlo, Beatrice. Scenes from Postmodern Life. Trans. Jon Beasley-Murray. Minneapolis: University of Minnesota Press, 2001. Senie, Harriet F. The “Tilted Arc” Controversy: Dangerous Precedent? Minneapolis: University of Minnesota Press, 2002. Singer, Beverly R. Wiping the War...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 160–164.
Published: 01 May 2008
... politically inspiring than sexually threatening. I distinctly remem- 162  •  Camera Obscura ber having a comically awkward discussion with my father after watching your sex scene with Jon Voight in Coming Home (dir. Hal Ashby, US, 1978). My dad tried to explain (unsuccessfully) why Sally...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 159–165.
Published: 01 December 2006
... row) Susan Ohmer, Susan White, Jon Lewis; (back row) Krin Gabbard, Paula Massood, and Stephen Prince. A R C H I V E F O R T H E F U T U R E A Brief History of the Ms in SCMS Ramona Curry In the mid-1980s, as a first-year graduate student in Northwest...
Journal Article
Camera Obscura (1999) 14 (3 (42)): 124–159.
Published: 01 September 1999
... American Imaginary into the domestic (melo)drama. This article maps out the "frontier-within" by examining the tre• mendously popular film Fried Green Tomatoes (dir. Jon Avnet, 1991) and Fannie Flagg's novel from which the film was adapted, Fried Green Tomatoes at the...
Journal Article
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
...- ling all come to television in search of creative and professional autonomy, the opportunity, as Jon Kraszewski explains, to invent the television writer as a new entrepreneur . . . [and] lone wolf figure who gains power and defines his identity by moving among a number of institutions, a...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
... more mod- est, Super-16, seventy-minute film O l d  J o y  a number of authorial markers: a setting near Portland, source material in a story by coscreenwriter  Jon Raymond, a car, a dog (the filmmaker’s hound Lucy), and an itinerant protagonist. O l d  J o y is about two male...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
.... As Jon Lewis observes, if in many teen films the teenagers “focus on a single concern: the breakdown of traditional forms of author- ity; patriarchy; law and order; and institutions like the school, the church, and the family,” the narrative resolution always entails “the eventual discovery of...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 95–123.
Published: 01 September 2020
... and hypocritically in false refuges. 13 For instance, in The Living End, the HIV- positive and economically disenfranchised couple s road adventure ini- tiates with a rage against the establishment: I think this is part of a neo- Nazi Republican definitive solution, Luke (Mike Dytri) declares to Jon...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 25–59.
Published: 01 December 2007
... his work on teen film, Jon Lewis couples Malick’s film with other “hopelessly romantic” and “nostalgic works” such as American Graffiti and the television series Happy Days, describ- ing Holly’s voice-over as “clouded” by the “teen magazines she reads incessantly,” so that her voice...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
...: Attentional Adhesion to Mates and Rivals.”1 The paper’s first author was the Florida State University psychology profes- sor Jon Maner, who has made something of a subspeciality out of what he calls “sexually selective cognition” — that is, the ways in which, over evolutionary time periods...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
Journal Article
Camera Obscura (2001) 16 (2 (47)): 1–35.
Published: 01 September 2001
... happen into this new space, have not kept pace with.”30 Jon Lewis notes the power of the city to render us passive. Quoting Lewis Mumford on the city and Christian Metz on film, he recognizes a kind of specularity in both: “One stands before the built environment that is the city like a spectator in a...