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landscape cinema

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Journal Article
Camera Obscura (2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
... as an auteur and coalesce into a new paradigm for representing female figures who might otherwise lose representability in both mainstream cinema (dominated by market forces) and alternative cinema. For one, she intervenes in a monolithic representational landscape of first-world, white, middle-class...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... reconstruction of the genre and its vintage mise-en-scène evokes both sexploitation cinema as well as the commodified landscape of the late 1960s and early 1970s, embodying itself as a time capsule constructed in retrospect. Viva , in its indulgence in the material artifacts, conventions, and “dated” precepts...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... deep ambivalence about the social role of women—coupled with its initial popularity and renewed appeal today—demands a reconsideration of melodrama and excess in classical Hollywood cinema through the lens of landscape. Publicity shot of Gene Tierney on the Bass Lake location shoot of Leave Her...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 69–85.
Published: 01 December 2022
... singularity in the landscape of postwar French film writing. Opening out from this historical context, it closes by gesturing toward the modernity of Vedrès's essay in terms of more contemporary archival filmmaking, as well as thinking on the relationship between cinema and history. 28. Quoted in Volker...
FIGURES
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... (Duma). Consequently, Germanika has become visible as an auteur who operates simultaneously between several historical, conceptual, and industrial formations: as a female director in a still male-dominated post-Soviet cinema industry, as an independent director in a production landscape defined by large...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... University Press, 1998), 288. 15. Donald Richie, “Influence of Traditional Aesthetics on Japanese Film,” in Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan, ed. Linda C. Ehrlich and David Desser (Austin: University of Texas Press, 1994), 156. 16...
Journal Article
Camera Obscura (2023) 38 (2 (113)): 31–61.
Published: 01 September 2023
... © 2023 by Camera Obscura Published by Duke University Press 2023 eco‐cinema queer ecology landscape cinema Sharon Lockhart film philosophy P. Adams Sitney argues that post–World War II American avant-garde filmmakers “have been intensely aware of the excitement of doing nothing...
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Journal Article
Camera Obscura (1990) 8 (3 (24)): 7–10.
Published: 01 September 1990
... at the convergence of three techniques and three arts: photography, cinema and video. These pas- sages are clearly taking shape in two ways-even if this only gives a name to the most visible arrangement of the figure that is produced at the limit of movement and of time: on the one hand, an oscillation...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
...Michelle Langford Camera Obscura 2007 Michelle Langford lectures in film studies in the School of English, Media, and Performing Arts at the University of New South Wales. She is the author of Allegorical Images: Tableau, Time, and Gesture in the Cinema of Werner Schroeter (2006...
Journal Article
Camera Obscura (2000) 15 (2 (44)): 75–103.
Published: 01 September 2000
... Quarterly, Cultural Critique, New German Critique, Germanic Review , and Studies in Twentieth Century Literature , and she has contributed chapters to The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition (1997); Beyond 1989: Rereading German Literature since 1945 (1997...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 161–187.
Published: 01 December 2015
... through the desert, with sparse dia- logue throughout. In the film, Antonionian art cinema conventions (extended long takes, deserted landscapes, protracted silences, and significant attention to the composition of the frame) point to contemporary problems of incommunicability and alienation...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 103–107.
Published: 01 December 1989
... in- volves giving voice to the question of positioning (1977, 113-138). 2. For an analysis which maps out the landscape of the female body as the fantasmatic ground of cinema, see Annette Michelson, 1984. 3. Assuming the position of “a distant observer” has clarified this point. I am...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 93–117.
Published: 01 September 2016
...Manuel Ramos-Martínez This essay examines the political significance of Jean-Marie Straub and Danièle Huillet's work with actors in their cinema practice. Straub and Huillet's acting methodology is an essential aspect of their cinema and its struggle to undo militaristic, patriarchal...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
... Attenberg and The Capsule . 52. Michel de Certeau, The Practice of Everyday Life , trans. Steven F. Rendall (Berkeley: University of California Press, 1984), 117. Emphasis in original. 53. Martin Lefebvre, “On Landscape in Narrative Cinema,” Canadian Journal of Film Studies 20, no. 1...
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Journal Article
Camera Obscura (1990) 8 (2 (23)): 70–89.
Published: 01 May 1990
..., the drinking of pleasant drinks, the association with char- acterless men [emphasis added] The places of amusement referred to by this author include not only cabarets and dance halls but those urban sites where early cinema was exhibited-the cheap theater and the amusement park. To young women...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 116–123.
Published: 01 December 1982
...Raymond Bellour; Susan Suleiman Copyright © 1982 by Camera Obscura 1982 “I Am an Image”” Raymond Bellour The essential novelty of Sauve qui peut (la vie) (already suggested in FvanL‘e/touv/d~touv/deux/enfants)resides in the displacement to which the cinema is subjected. Here...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 229–263.
Published: 01 December 2001
...Zhang Zhen Camera Obscura 2001 Zhang Zhen is an assistant professor of cinema studies at New York University. Her critical and creative writings have appeared in a number of journals and anthologies, including Public Culture, Asian Cinema, Cinema and Urban Culture in China 1922-1943...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 95–105.
Published: 01 September 1988
... with no choice: big heads, cut-off heads, membra dis;ecta-this is how the astonished audiences of early cinema saw film's first close-ups. Trained as it was to contemplate paintings, landscapes, panoramas, and the homogeneous space of the theater or music hall, the spectator's eye was unprepared...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 126–129.
Published: 01 December 1984
... relates to cinematic portrayals of women from early silent cinema to musical entertainers andftm noir heroines. Filmed in London and Iceland, The GoZd Diggers makes use of visual extremes (deserted night city streets and white snowscapes) and changes of physical scale...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 223–225.
Published: 01 May 1995
... Copyright © 1995 by Indiana University Press 1995 Books Received: 223 Landscapes of Resistance: The German Films of Daniele Huillet and ]ean- Marie Straub by Barton Byg. University of California Press, 1995. $19.95. Solidarity...