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Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
... eroticism. Bryher, Close Up (December 1927) Light Filtering through Those Shutters : Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism Jenelle Troxell Camera Obscura 102, Volume 34, Number 3 doi 10.1215/02705346-7772387 © 2019 by Camera Obscura Published by Duke University...
Camera Obscura (2005) 20 (1 (58)): 185–207.
Published: 01 May 2005
.... She also produces television documentaries and short films. Velvet portrait of the “dusky maiden” from Velvet Dreams (dir. Sima Urale, New Zealand, 1997). Courtesy of TopShelf Productions Darkness and Light: Dusky Maidens and Velvet Dreams Sarina Pearson Historically, Paciﬁc...
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... inflect popular culture in postcommunist Eastern Europe. Germanika's work casts light on the contemporary terrain of Russian filmmaking and its relationship to the site occupied by Russian youth, who find themselves caught between the communist past and the yet-to-come postcommunist future. This article...
Camera Obscura (2016) 31 (2 (92)): 175–185.
Published: 01 September 2016
... third site of opacity, which examines Harvey's “Anti-Drone” wear in light of “the fog of war,” invokes Noel Sharkey and Lucy Suchman's recent call to end the production of autonomous armed machines. Throughout these three sites of opacity, Harvey's work opens up a response to surveillance that inhabits...
Camera Obscura (2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
... “written in lighting” by Griffith, they also systematically engage in, and attempt to disguise, their own insidious racial exploitation, both onscreen and offscreen. Constructed to incite and assuage anxieties about the transgression of boundaries between black and white, male and female, and adult and...
Camera Obscura (2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
...” Western audiences about oppression on the “dark continent.” The article focuses on the respective story lines, which indict Western corporations, and on the directors' manipulation of lightness and darkness as a means of literally rendering Western exploitation visible. Despite this potential, however...
Camera Obscura (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...
Camera Obscura (2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
... special “In Practice” dossier on WMM sheds light on the formation and early history of the organization and its origins as a community-based filmmaking workshop called the Chelsea Picture Station. Exploring materials such as old newsletters, brochures, notes, and other ephemera from the WMM papers, this...
Camera Obscura (2014) 29 (3 (87)): 33–63.
Published: 01 December 2014
... and framed her cause in a favorable light. Focusing on a series of widely televised antibusing protests in the early 1970s, this essay examines how McCabe cultivated a multifaceted television persona, combining political acumen, sexuality, and a calculated vulnerability that made local antibusing...
Camera Obscura (2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
... sexy and sexually unavailable. In this light, teenage girls, Twilight moms, and gay men could fabricate their own individual ideas of what it means to fall in love with the idea of love for the first time, with a figure that is both abundantly available as a sexual imagination but physically...
Camera Obscura (2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... visibility of what Michael Hardt and Antonio Negri term “the flesh of the multitude” that offers opportunities for new forms of recognition and political alliance. Sleep Dealer provides an ambivalent theory of visibility and the production of collective memory within a neoliberal frame that sheds light on...
Camera Obscura (2018) 33 (2 (98)): 41–67.
Published: 01 September 2018
... more defining of who they are than their minds and bodies. Rejecting aliveness as an intrinsic human quality, Nymphomaniac and Under the Skin reconceive of their characters as bags, rocks, and projectiles—and also, meta-reflexively, as beams of light. Invoking thinkers such as Jacques Rancière, Edward...
Camera Obscura (2019) 34 (1 (100)): 163–183.
Published: 01 May 2019
... of biography and historiography. The authors are scholars, curators, and collaborators; some were her friends; many share several of these attributes. As organizers of the symposium, we asked them to shed light on the papers given on the occasion by returning to the theme of the difficulty of...
Camera Obscura (2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
... not the smoking guns they seemed to be. They suggest that photographs must always be considered in the light of what we know about the situation of their taking and that very often, as in the torture death of Manadel al-Jamadi, the real incriminating photo does not exist, though an eloquent picture of...
Camera Obscura (2021) 36 (1 (106)): 41–59.
Published: 01 May 2021
... became a vital part of Varda's film corpus and of her feminist investigations of different subjectivities and desires, of the affective worlds of contemporary women and children. It takes shape in her tenderness for Jane Birkin, but also in light of her own clearer thinking about childhood, nostalgia...
Camera Obscura (1985) 5 (1-2 (13-14)): 28–49.
Published: 01 September 1985
... using a single screen was Ulay/Marina Abramovic’s Terra degli DeaMadre. In a room bathed in golden, Mediter- ranean light, a television set rests on a wooden arm-chair with an old loudspeaker on a chair beside it. The videotape consists of images of Terra degfz Dea...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 60–73.
Published: 01 December 1982
.... It’s a vast undertak- ing. Solitary. ‘The wolves switch on their parking lights. The diamond. A solitaire. Still like atoms. Lit up. A dark lunacy. An industrial disaster. The dawn of...
Camera Obscura (1990) 8 (3 (24)): 162–167.
Published: 01 September 1990
... color takes to vary (Nostos I, Time . . .) or to settle in layers (Echolalia),that light takes to pulsate (Still, Nostos I, Time. . that the grain takes to vibrate (Still).Or-and this goes for all the tapes, all “immobile,” slow, and silent-the time that time takes to run out. Almost...
Camera Obscura (1979) 1-2 (3-1 (3-4)): 216–218.
Published: 01 May 1979
... lighting, camera angles, stationary camera, duration of shots, and style of acting, creates Jeanne Dielman and her world-or rather, Jeanne Dielman in her worid. Beginning with the film’s title, we see the chief character not simply named (as in Marnze), nor named and claimed (as in Alfred...
Camera Obscura (1988) 6 (3 (18)): 156.
Published: 01 September 1988
... Kaplan. Methuen, 1987. $11.95. Marguerite Duras by Marguerite Duras, Jacques Lacan, Maurice Blanchot and others. City Lights, 1988. $9.95. Policing Desire: Pornography, AIDS and the Media by Simon Watney. Uni• versity of Minnesota Press, 1987. $14.95. Discerning...