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Journal Article
Camera Obscura (2018) 33 (2 (98)): 41–67.
Published: 01 September 2018
... late style Lars von Trier Nymphomaniac ...
Journal Article
Camera Obscura (2019) 34 (3): 1–29.
Published: 01 December 2019
... and essentialism is upheld later in the film when the heroine not only turns away from Big Brother s love but also changes her clothes back to the plain, sent- down youth style. Li Chun s refusal to affix herself to the Dai femi- 16 Camera Obscura nine position may have frustrated some critics in the late...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 105–117.
Published: 01 December 2021
...Ronald Gregg Abstract Lesbian filmmaker Barbara Hammer turned from experimental filmmaking to feature-length documentaries in the early 1990s. These late documentaries illustrate her distinct perspective on queer history and affect, which was influenced by 1970s lesbian feminism and queer...
FIGURES
Journal Article
Camera Obscura (2022) 37 (1 (109)): 31–59.
Published: 01 May 2022
... with repairing communication between white factory foremen and black men who were labeled the hard‐core unemployed, Greaves combines the documentary style of cinéma vérité with psychodrama, a group therapy method that uses theatrical techniques of role‐play and reenactment to both reveal and treat social...
FIGURES
Journal Article
Camera Obscura (2019) 34 (3): 31–61.
Published: 01 December 2019
... language at a moment of technological transition. This phenomenon has significant parallels to the much-touted late style of current TV.7 By examining production and distribution practices for their effect on aesthetic style and forms of representation, we can reinvigorate historical TV programs while...
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 (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
... Kyo¯ka’s short story set in the late Meiji era (the turn of the twentieth century), the film featured Irie in a kimono, and its commercial and criti- cal success irrevocably forged her new star image. She continued to reign as the queen of melodrama after closing her produc- tion company...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 11–37.
Published: 01 September 2007
...) with consciousness-raising. Indeed, if anything, the incorporation of an ironic style once thought tantamount to social critique now only seems to lubricate the mechanism that recycles cultural commodities: this is postmodernism as the cul- tural logic of late ca(m)pitalism. In other words: just...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
... herself as a benshi. Unlike other traditional performing arts, creating one's original style based on one's interpretation of the film has always been more valued than copying the predecessors' styles. Sawato also discusses the complex ways in which she, a contemporary woman with a clear feminist agenda...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 57–89.
Published: 01 December 2005
... in the constructivist project, especially once we take into account the montage aesthetics that dominated the visual style of the cinema of the late 1920s and early 1930s. In Naruse’s silent films, a flamboyant visual style becomes directly linked to a gendered discourse of everyday life. As Naruse’s...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 157–185.
Published: 01 December 2004
... stylistic connotation, conveying ‘pastness’ by the glossy qualities of the image,” and the tendency toward pastiche—a jumble of histori- cal styles that Jameson identifies as central for the postmodern aesthetic—seem to suggest as much.2 If, however, we were to understand this postmodern historical...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 111–119.
Published: 01 September 1983
... to redefine its artistic vocation in line with an ethos of "modernity." Scenes of bourgeois public and family life, favored by the "modern" impulses ofImpressionism, were especially salient representational subjects for the late nineteenth-century woman artist whose own life had been circumscribed...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
... volume of films produced in Japan and China in the late 1920s and early 1930s. During this period, the film industries were consolidated in both countries within complex networks of discourses of nationalism, Orientalism, and gender. The articles in this issue demonstrate that the silent...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 129–157.
Published: 01 May 1995
... different film styles and periods that nevertheless have similar effects with respect to gender and melodramatic narrative form. In the japanese film industry, directors tend to be closely associated with specific styles, which makes authorship a useful for- mal category...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 102–131.
Published: 01 May 1994
... of MoZZy Dodd sounded like a fairy-tale plot-an episode extracted from the ongoing drama in the late 1980s about the recently deregulated TV industry’s battle for viewers, ratings, and advertising revenue. This story’s multilayered diegesis mixed fictional characters with “real” social agents...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 1–45.
Published: 01 September 2004
... style on which they draw. The adoption of the cos- tume and pose of the male dandy in itself registers the subject’s difference. By choosing to assume a masculine aesthetic originat- ing in the late eighteenth century and more contemporaneously associated with male homosexuals such as Oscar...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 159–167.
Published: 01 December 2013
... on and consistently modeled the responsibilities of a gay film critic was the late Alexander Doty, who pushed even further what it meant to queer a text. Doty insisted, as Wood did two decades before him, that queerness is less to be found “in” texts than in the reception and production of texts, particularly...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 1–33.
Published: 01 December 2011
... this term to refer to a style of music that emerged in the late 1970s and early 1980s following the initial explosion of punk in the early to mid-­1970s as described by Dick Hebdige in his influentialSubculture: The Meaning of Style (London: Methuen, 1979). Much of the post-­punk...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 12–31.
Published: 01 September 1995
... changes somewhat over time, often it does so only on a superficial and ephemeral level as different looks go in and out of style. For the most part American beauty culture continues to be dependent upon a hier- archical system that devalues Black looks.6 An analysis...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 63–91.
Published: 01 December 2017
...Elisabeth Windle Douglas McGrath’s 2006 film Infamous recounts Truman Capote’s research travels to Kansas in the late 1950s. In opposition to the “effemiphobic” rhetoric of many contemporary gay cultures, Infamous highlights Capote’s effeminacy and relationships with women as creatively...