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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1993) 11 (1 (31)): 71–95.
Published: 01 May 1993
...John Mowitt Copyright © 1993 by Indiana University Press 1993 Sembene Ousmane’s Xala: Postcoloniality and Foreign Film Languages John Mowitt Though this paper focuses on the textual analysis of a specific film- Sembene’s Xala (“temporary impotence” in Wo1of)-it is...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
... rigidity of physical space and the ephemerality of real-time information processing. The contested boundary between public and private is necessarily reconfigured along with the mediated gaze relation, its articulation with language and textuality, and its possibilities for communication and horizontal...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... figure of Antigone, Oedipus's daughter, the marginalized and yet inerasable point of departure for another psychoanalysis— perhaps for another theory of the archive. In light of what Judith Butler calls Antigone's “scandalously impure” claim, a claim that appropriates the very language of the power she...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 131–157.
Published: 01 May 2011
...Irene Gedalof Where do spaces of the home figure in contemporary studies of transnational, migrant, and diasporic cinema? According to Hamid Naficy, “accented,” exilic, and diasporic cinema primarily evokes a state of “permanent deterritorialization,” producing cinematic languages of discontinuity...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
... Vision ) and its interrogation of language and translation, the Xin Lu series offers a queer diasporic critique of nationalism and globalization. Situating Ma's video practice in relation to the theoretical work of Rosalind Krauss, David Joselit, Richard Fung, Aihwa Ong, Pheng Cheah, and others, Feng...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 146–153.
Published: 01 December 2011
...Martha M. Lauzen From the release of The Hurt Locker in October 2008 through the Academy Awards ceremony in March 2010, Kathryn Bigelow and her film garnered substantial press attention. An analysis of articles appearing on Bigelow in major English-language newspapers worldwide during this period...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
... of seeing.” But this mode of seeing is not innocent; it is, to adopt Heideggerian language, a “challenging” or “enframing” of seeing, such that the quotidian processes of imagination and conceptualization evident in the human senses are instrumentalized according to specific interests and outcomes. I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
... Wen], Hong Kong, 1957), which introduced to Chinese-language cinema the figure of the carefree singing and dancing teenager. The figure she cuts in the film, and in many other of her vehicles, is sunny to the point of relentlessness and wholesome and upright to the point of unbelievability. But if...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 93–115.
Published: 01 December 2014
...Paul A. Schroeder Rodríguez Lucrecia Martel is quite possibly the leading filmmaker in Latin America today, thanks to her subtle yet scathing critique of patriarchy's traditional gender roles and normative sexuality through a multilayered and innovative cinematic language that privileges...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... rendered by montage or whip pans. The Snake Pit and Sorry, Wrong Number , like other films of the 1940s centered on female insanity, exploit the language of cinema in order to make spectators partake in their pathologized versions of the sensory world. This restructuring of perception by mental illness has...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
... documentary address, representational regimes, and cinematic and verbal language are important areas of political interrogation. Each film is a complex construction in which the “real” is only one element in an affective and reflexive architecture of performance, fiction, poetry, and the intuitive. In this...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
... misunderstood, Gelley contends, not primarily because of the transgressive nature of their subject matter but, more importantly, for the negativity and ambivalence of their critique and the way in which they reinvent the conventional cinematic language of heterosexual intimacy. Fat Girl is one instance of a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1995) 12 (2 (35)): 226.
Published: 01 May 1995
.... Starks, Department of Literature and Languages, East Texas State University (as of Sept. 1996, Texas A&M University at Commerce), Commerce, TX 75429; FAX (903) 886-5980; or E-MAIL Lisa_Starks@etsu.edu. ...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1981) 3 (1 (7)): 66–87.
Published: 01 May 1981
... domain of a semiology of the cinema. With the publication of the essays collected in Essais sur la signification au cinima (the first volume, translated into English as Film Language), Metz largely initiated the attempt to apply a structuralist methodology to the cinema. Complementing the al...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1981) 3 (1 (7)): 6–29.
Published: 01 May 1981
...Constance Penley © 1981 by Camera Obscura 1981 La jetle (Chris Marker, 1963) Introduction to “Metaphor/Metonymy, or the Imaginary Referent” Constance Penley Roland Barthes once described Christian Metz’s style as one of “rabid exactitude,” embodying the jouissance of the language...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 165–168.
Published: 01 December 1989
...- choice HE seemed to flag a particular problematic. At issue here was the difference between the “female” (as in biological sexual difference) and the subject position “feminine.” (This is a distinction which exists in English but does not exist in the French language. The word...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 14–20.
Published: 01 May 1979
... other, on the side of the unconscious and the repressed of western (male) discourse. Irigaray ends up reclaiming in the name of feminine discourse pre-existing categories of language which have al- ways been assigned to women and madness. Irigaray is not alone in proposing...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 4–6.
Published: 01 September 1990
... “beyond description” and to prescribe language for what is “not to be spoken”; but also logical, it seemed to me, as I read with a shock of recognition how desire and prohibition are plotted, from pleasure to displeasure to interdiction, from the subject to the law. But let’s back up a bit...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1993) 11 (1 (31)): 148.
Published: 01 May 1993
... Associate Professor of Cultural Studies and Comparative Literature and also English at the University of Minnesota. His book, Text: The Genealogy of an Antidisciplinary Object recently appeared from Duke University Press. This essay derives from a book-length study of “foreign film languages...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 192–209.
Published: 01 December 1982
..., Godard’s cinema privileges spoken language. Unlike most other bodies of work, however, Godard’s films do not privilege dialogue: “conversation” is only one possible type of language use in a Godard film. There are also, most notably, reading aloud, composing aloud for transcription, interviewing...