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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 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
.... Supernanny is a hybrid form of pedagogical television: Third Way TV — a commercialization of the public service model. In a time when public subsidies and the delivery of services like child care have all but disappeared, the institution of commercial television easily fills the gap. Supernanny readily...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 155–160.
Published: 01 September 2012
... conflict continues to shadow any vision of what a peaceful reality might look like. Thus it is increasingly difficult to speak of sexual politics without reference to grander institutional schemas. Omar Kholeif is an Egyptian-born, UK-based writer and curator. He is currently curator at FACT...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
... shaped by this very difference. Further, through initiatives like the African-American Film Festival Releasing Movement, networks of filmmakers and film enthusiasts from communities historically mis- or underrepresented in film are beginning to shift the constitution of festival audiences and thereby...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
... desire — this essay cannot consider the photograph in isolation from others like it, because the calendar serializes and is itself a serial and because the photograph is a copy-image of a beloved object that itself becomes beloved. It is the copy rather than the original that must stay behind, that...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
... piece articulates some of the core values expressed when WMM was founded — values like community, feminist activism, access, and support — and suggests that these values established important precedents for WMM's institutional identity. This historical overview also shows how WMM's community workshops...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
... Weimar period. Through the placement of the female minor characters, Berlin Alexanderplatz challenges the traditional terms of value often associated with the historical television miniseries. Contra contemporaneous miniseries like Heimat (WDR/SFB, West Germany, 1984), Roots (ABC, 1977), and Days of Hope...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 119–147.
Published: 01 September 2014
...-female relations that was produced by Apatow and designed to cash in on the popularity of The Hangover. While Bridesmaids , like Superbad , strikes a note of mourning, the devalued status of women prevents them from achieving the grandeur of melancholics, a grandeur that accrues to men even in low...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 117–147.
Published: 01 December 2014
... , so too does a stereophonic sense of the film suggest that the marriage between film noir and anticommunism — like that between film noir and melodrama — is rather stranger and therefore richer than heretofore imagined, revealing not simply the changing contours of classic noir but, among other things...
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...