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1
Journal Article
Camera Obscura (2017) 32 (3 (96)): 93–119.
Published: 01 December 2017
... production, which helped to sustain these particular racial fictions. Figure 1. Mickey Rooney as Mr. I. Y. Yunioshi in
Breakfast at Tiffany’s (dir. Blake Edwards, US, 1961).
Paramount Pictures/Photofest
The Many Lives of Mr. Yunioshi:
Yellowface and the Queer Buzz of
Breakfast at Tiffany’s...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 41–69.
Published: 01 May 2015
...Michael Litwack How can we understand television's pervasive ideology of liveness at a moment in which the medium increasingly invests in the vital capacities of individuals and populations? This article approaches this question by looking at the imbrication of televisual liveness and a perhaps...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 15–41.
Published: 01 May 1997
...Molly Anne Rothenberg Original design by Tom Pribyl, from a photo by Thomas DiPiero
The “Newer Angels” and the Living Dead:
The Ethics of Screening Obsessional Desire
Molly Anne Rothenberg .
Apparently, we have no shortage of ways to represent our enchant...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
... and archive, and death and the image. This essay traces the ghostliness of entertainers speaking from beyond the grave and the new interpretive problems that come to the fore when the performance is “live” but the performer isn't. Bringing together star discourse, media ontology, and sound studies...
Image
/10.1215_02705346-9052844/3/s_cob9052844figure1.png?Expires=2147483647&Signature=Iv-yljar7yYBRNykqUFYDb8~xB3~v0okCOqLK2QHLy15B~etiHG2342Py1Oene5QyZB-UVE0eWaDaARXpCOUmRQfcVIss7YbgdLL4KCRzDTSkDYrwIvL4imJiGkt-lvDreg7sWGCEgXsqmCVZPo5bo0dJK2AWiSH9oon9gq-kM9COMgeeXeaaQGeRlJH-NBF4k9SOs5CYe9WwRxDT4~r4BoG--EIftimrWZh2MSbPoFPqixzSF9lzuD1askNKsbEmUnbI6n6vl5zLduZT7MnYFenknYWFFAoz8bNx2a9FSAlCPHTn00HZnH25bggm4mHujzmnM8dEDBtdKWdcMl9VQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Published: 01 September 2021
Figure 1. Carolee Schneemann, Glass Environment for Sound and Motion , the Living Theatre, New York (1962). From left: Malcolm Goldstein, Yvonne Rainer, and Andre Cadet. Photograph: Steve Schapiro. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York
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Journal Article
Camera Obscura (2012) 27 (3 (81)): 169–179.
Published: 01 December 2012
..., that there are different bourgeoisies and different undergrounds and they can clash in many ways. Just as we still live with the heritage of May 1968 in Paris, in the experimental film world so too we still live with the aftermath of EXPRMNTL 4 in 1967 in the small town of Knokke. When the fifth edition of the festival...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 75–101.
Published: 01 December 2018
...Priscilla Layne Between 1990 and 1997, Auma Obama, half-sister of Barack Obama, studied at the Berlin Film and Television Academy (DFFB). For her final project, Obama wrote and directed All That Glitters (1993), a short film about Wendo, a Kenyan woman living in Bayreuth, married to a white German...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 197–217.
Published: 01 May 2019
..., 1988). D’Est ( From the East , France/Belgium, 1993) is featured for its impact on the future work of both artists and expanding Chantal’s work from the big screen to live performance with D’Est in Music (2005). Their passion for the live stage and breaking the confines of the film frame is seen...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 109–137.
Published: 01 May 2020
... domains of war and political machinations. While one film takes on a serious ethical polemic (the innocent lives of civilians caught in the visual crosshairs of drone cameras) and the latter is a romantic comedy following the adventures of a journalist in Afghanistan, both visually capture important...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 105–117.
Published: 01 December 2021
... affirms past queer lives, celebrating and highlighting rebelliousness, agency, creativity, queer kinship, and passion. Additionally, Hammer attempts to communicate with and embody the past, physically and emotionally seeking out and feeling the interior and exterior lives of her biographical subjects, who...
FIGURES
Journal Article
Camera Obscura (2022) 37 (1 (109)): 1–29.
Published: 01 May 2022
... the pulse of Black life; the role of digital media in the lives of twenty‐first‐century Black Americans mirrors that of Black magazines and newspapers in the nineteenth and twentieth centuries. Of particular note is the way that Black youth, especially Black girls, use digital media spaces to make...
FIGURES
Journal Article
Camera Obscura (2010) 25 (2 (74)): 173–181.
Published: 01 September 2010
... (Tijuana, Baja California) and chronicles the lives of maquiladora workers who experience firsthand the debilitating effects of development driven by the North American Free Trade Agreement (NAFTA) along the Mexico-US border. The making of the film coincided with the global economic crisis of 2001, when...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 83–111.
Published: 01 May 2018
..., creeping underneath the window of the trailer in which Rosetta lives with her alcoholic mother. The question is how much the critical posthumanist viewer feels at ease with that evangelical subtext. This essay argues that however self-reflexive Rosetta may show itself in its flirtation with Christian...
Journal Article
Camera Obscura (2018) 33 (2 (98)): 197–207.
Published: 01 September 2018
..., the live amateur eyewitness, and first-person conventions of “coming to voice.” Story takes up Rangan’s question, “What do immediations do ?” in relation to the tropes of the prison documentary genre, which she attempts to move past in her film The Prison in Twelve Landscapes (US, 2016). Story argues...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 185–195.
Published: 01 May 2019
... Journal . This essay aims to reveal the collaborative nature of the working processes behind this project and the organic manner in which it developed as well as the challenges it posed at a critical time in the artists’ lives. In its totality the project and indeed its process, with its multiplicity...
Journal Article
Camera Obscura (2019) 34 (2): 1–39.
Published: 01 September 2019
... of representation of black bodies and black lives, as she transforms the trope of suffering black mothers and their martyred black youth into a celebration of black motherhood and the pregnant body. These images are consciously rooted in a genealogy of black women’s representations of black women’s bodies. Despite...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
... but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 1–37.
Published: 01 May 2020
... “Silence = Death” relies and yields a rethinking of media history and sound studies as they relate to queer lives. Copyright © 2020 Camera Obscura 2020 duration and identity queerness and queer theory sound and sonic technologies vocality and voice American popular music I visited Vito...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... studies scholarship that orbit around Afro-pessimist theories of Black ontology and social death. Through their expressions of Afrocentric feminist forms of communal, caring, and creative living, the films represent a form of Black social life that expresses value systems and ways of being...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 116–131.
Published: 01 December 2020
... opens a window onto the interconnections and adaptations that live between friends, sex, technology, illness, feminism, and representation. © 2020 by Camera Obscura 2020 cyberpunk digital media feminist porn Shu Lea Cheang queer media AIDS media Figure 1. FLUIDØ (dir. Shu Lea Cheang...
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