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Journal Article
Camera Obscura (1984) 4 (3 (12)): 18–39.
Published: 01 December 1984
... © 1984 by Camera Obscura 1984 Leaving the 20th Century Leaving the 20th Century: Interview with Max Almy Camera Obscura: Could you talk a little about your first major project, the ILove You tape? Max Almy: Sure. The I Love You tape was originally intended for four monitors...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
... according to the idiosyncracies of their psychic histories, this article suggests that some texts work from within the construction, logic, and pleasures of such fantasy scenarios to unravel or “traverse” them, in this way leaving the spectator precariously placed against the Real. If at the end...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 119–159.
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...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 173–181.
Published: 01 September 2010
... factories along the Mexico-US border began relocating to China, leaving behind thousands of unemployed workers and a chaotic urban milieu devastated by faulty infrastructure and toxic industrial waste. The story is told from the perspective of resilient workers-activists ( promotoras ), dauntless women like...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... in person during a fictional convention called AwesomeCon; during the course of a single playthrough they can become friends, get into heated arguments, or simply have an awkward conversation and leave. In a similar tradition to ideas advanced in feminist film theory such as Kaja Silverman's Subject...
Journal Article
Camera Obscura (2019) 34 (2): 71–101.
Published: 01 September 2019
... allow her to interrogate the typical treatment of female corpses within crime television. Through circuitous investigations that leave enough narrative space for detours like the settling of Paradise, where women transform shipping containers into domestic spaces for struggling women, Campion provides...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
..., nonplayer characters, framing devices, or divinities, players regularly hear voices without seeing their source. While many games leave voices off-screen for reasons of technical and economic constraint, developers may restrict voices in this manner for other reasons as well—or at least with other...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
... as they appeared on the commercial market. Since leaving One Pass last year, Almy has been teaching video production and working on her own projects both at UCLA and at West Coast University. During the past year, she has received numerous grants and work opportunities, including an American Film Institute...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
... image, Monica Vitti against a wall. Now, they’ve not only got bodies, but these bodies are somatizing madly. Traube, the woman on the verge in Felix, is so mad she leaves her womanizing boyfriend, Felix, before the film even begins. Unable to cope with the harsh...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 107–147.
Published: 01 May 2005
... critic who “described Earth as a ‘mawkish look at the impact of partition . . . a Bollywood influenced con- fection . . . that attempts to shock with a catalogue of atrocities “These condescending remarks are without foundation and leave one wondering what sort of film would satisfy this critic...
Journal Article
Camera Obscura (2003) 18 (2 (53)): 27–55.
Published: 01 September 2003
... and that he suffers from a rare disease, osteogensis imperfecta, leaving his bones so fragile that he has suffered scores of fractures. As the narrative unfolds, this apparent disability begins to take on a supernatural cast because of the larger narrative with which it becomes associated...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 211–215.
Published: 01 May 1979
..., and as routinely leave it, without any one of them engaging the camera or being engaged by it. One woman detaches herself from the crowd and instead of exiting via the descending stairs, can be seen - I choose this construction delib- erately, for once again the camera makes no move toward her...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 76–87.
Published: 01 September 1991
..., the conceptual art director, tricks us with his apparent simplicity. While seeming to simply commemorate the dead, he also sets up a reverse Rear Window scenario. Instead of placing the viewer in the eye of one of the inhabitants (Jimmy Stewart) looking at the other occupants, Boltanski leaves...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 77–111.
Published: 01 May 2007
... will begin exploring the terms of this dissolution through a detour — my own encounter with a peculiar photograph. X Marks the Spot X Marks the Spot — this is the title of a photographic album docu- menting gangland killings in Chicago; it refers to a police proce- dure that leaves a sign where...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
... becomes internalized. Of course, this poses a risk in terms of engaging audiences, but people 174  •  Camera Obscura may not respond to the list of evidence often shown in a political film, either. I am not in the business of numbers, which encourages everyone to leave a film screening thinking...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... film After Life (Wandâfaru raifu, Japan) further compresses a lifetime burning in every moment into a lifetime burning in one moment, the creation and experience of which enables the pas- After Life (dir. Hirokazu Kore-eda, Japan, 1998) focuses our attention on close-ups of trees, leaves, snow...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 124–130.
Published: 01 December 1982
...- ings and goings of the actor, but above all, from discussions with the 127 two women, the one from the hotel and the one from the factory. The one from the hotel very much wants to leave with the actor once the production closes down. But he wants to stay with the one from the factory...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 26–31.
Published: 01 September 1988
... interested in movies at all at first. I don't think what happened to me had much to do with my own choice, you know. I'd been working in the countryside until I'd given up all hope. I wanted to leave desperately. That's why when people make nostalgic films about the experience down in the countryside...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 179–190.
Published: 01 January 1988
... itself, taken in isolation, to the complex social event of reading where a woman actively attributes sense to lexical signs in a silent process carried on in the context of her ordinary life" (p. 8). By leaving the ivory tower of textual analysis and mixing with actual readers, she...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 6–27.
Published: 01 September 1983
... that he can see. AfterJohnny finds out that Ballen has married Gilda, he leaves the house angrily, walking through the jail-like bars of the outer door into an extreme close-up, his face lit from the side. The dramatic thrust ofthat movement into close-up is supplemented by the voice-over: "It was all...