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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 111–135.
Published: 01 December 2008
... Treats Objects Like Women Two Types of Fetishism in The Big Lebowski Brian Wall It is the hardest thing in the world to be a materialist. In theory, that is — as a theorist. Even though thought seems irreducible in its linguistic and even imagistic materiality, nonetheless, in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 75–117.
Published: 01 September 2010
... the Rocks. Gloria Swanson and Rudolph Valentino look on as director Sam Wood gamely plays the beau. Courtesy of Donna Hill “Would you like to sin with Elinor Glyn?” Film as a Vehicle of Sensual Education Laura Horak Today Elinor Glyn is best known for inventing “It,” the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 131–157.
Published: 01 May 2011
... diasporic filmmakers in the UK, Gurinder Chadha's Bend It Like Beckham (2002) and Pawel Pawlikowski's Last Resort (2000). Irene Gedalof is a senior lecturer at London Metropolitan University, where she teaches in the equality and diversity and film studies programs. Her current research focuses on...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... induces another kind of damage, or agnosia: the ability to evaluate facial beauty. “Liking What You See” reflects on the ways in which such a technology might either disrupt or reproduce gender and racial ideologies by altering people's ability to recognize and experience a particular form of visual...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
... within musical performance functions as a likely origin for the murderous rage of the film's antagonist, Frank Booth (Dennis Hopper). Frank tries, via mimicry, to displace intimations of homosexuality that arise within musical performance. But the film suggests that mimicry is likely to fail as a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... neutral new media technologies. Technophilic television programs like 24 , which create pleasure out of paranoia and dramas out of identification, employ digital special effects sequences like FRSs to demonstrate the power of both cinema and science to reveal hidden identities. These identities are often...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 85–117.
Published: 01 September 2014
... plight of a male cigar smoker who gets pestered by two micrographic nicotine fairies; and a Pathé slapstick comedy, Betty Pulls the Strings (dir. Roméo Bosetti, 1910), about a madcap female trickster whose pranks wreak mass anarchy. Whereas films like Princess Nicotine micromanage their comediennes...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 93–115.
Published: 01 December 2014
... action in these films appears to develop in a political vacuum, the trilogy reads like a fairy tale and, more specifically, like a rereading of “Little Red Riding Hood” from a feminist perspective. At the same time, however, hints that La Ciénaga is set in the late 1970s, La niña santa in the 1980s, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
... of race and sexuality, as well as of formulating “queer of color” as a kind of critical modality. Much like Harriet Beecher Stowe's Uncle Tom's Cabin functions, according to Sigmund Freud, as a cultural artifact prized in the form of an idealized beating fantasy by the Victorian (white) child...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
..., where female characters grapple with the ethical conduct of themselves and their environment. While comparable to the brittle satire of “smart” film directors like Solondz, Neil LaBute, and Noah Baumbach, Holofcener never allows her work to drift into absurd or taboo territory. Instead she advances a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
... perfect fit between a niche audience and a boutique show. In addition, the article suggests that the audience is already embedded in the show through affective economies, product placement, extradiegetic activities like blogging, and a more intimate relationship with television executives than ever before...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 93–121.
Published: 01 May 2016
... pattern but rather emerges, so to speak, through the lines, much like the video image itself. Ros Murray is a Leverhulme Early Career Research Fellow in the film studies department at Queen Mary University of London. Her work focuses on 1970s feminist video collectives. She has published on the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... from others and vice versa, and their constant association with that which is considered gross (like dirt, vomit, and feces) is habitually a sign of what emotional and economic insecurity has wrought. However, race makes a critical difference in the treatment of abjection in these two shows. While...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 187–201.
Published: 01 May 2016
... sources, including police archives, documentation of political movements like the suffragist movement, communal activism, art projects, and so on. Ariella Azoulay is a professor of modern culture and media and comparative literature at Brown University. Her recent books include From Palestine to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 167–173.
Published: 01 September 2016
... world. The undetectable, like the monad, is both object and process, unfolding on a field of vision. Nathan Lee is a critic, curator, and PhD student in the Department of Modern Culture and Media at Brown University. A former film critic for the New York Times and Village Voice , he is a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2018) 33 (2 (98)): 41–67.
Published: 01 September 2018
... Said, and Stanley Cavell, this essay proposes that these films pessimistically comment on the changing phenomenology of our cultural relationship to our minds and bodies, fantastically depicting them not only as commodifiable but as made out of lifeless, object-like entities in the first place. This...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2018) 33 (2 (98)): 197–207.
Published: 01 September 2018
... between a documentary ethic of emergency (which draws on material forms like immediations that are ready at hand but obscure the path to social change) and a documentary politics of urgency and necessity (which maps the social structures, forces, and institutions that perpetuate structural inequality...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... through the different terrains of collective memory, the article shows that the militarized vision and real-time temporality of Drones produce control effects of visibility like those that currently characterize the borderlands. In contrast, the haptic and entangled aesthetics of TruNode produce a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... alternating between documentary-like scenarios and quiet, evocative cinematic pauses on the natural world, After Life contrasts a bucolic landscape with the spectacle of film production. Moreover, After Life privileges the transformative potential of a benevolent gaze (subjectively held by its female...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 1–39.
Published: 01 September 2010
... more recent slate of girl-oriented consumer electronics: mediamaking gear for girls. Like the “pink software” of the girl games era, much of this “pink technology” relies on design strategies grounded in stereotypes of girls, girlhood, and girls' culture in order to attract female youth to historically...