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Journal Article
Camera Obscura (1989) 7 (1 (19)): 54–85.
Published: 01 January 1989
...Kaja Silverman Copyright © 1989 by The Johns Hopkins University Press 1989 Fassbinder and Lacan: A Reconsideration of Gaze, Look and Image Kaja Silverman Although the descriptive phrase “aesthetics of pessimism” derives from Fassbinder himself,l it might well have been...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 88–115.
Published: 01 December 1982
...Margaret Ganahl; R. S. Hamilton Copyright © 1982 by Camera Obscura 1982 One Plus One: A Look at Six Fois Deux Margaret Ganahl and R. S. Hamilton No one really knows Or cares whether this is the whole of which...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 91–117.
Published: 01 September 2022
... of the Nanjing Massacre. I look at how the adoption of the trope of family narratives in The Girl and the Picture challenges the representational stereotypes of previous Nanjing Massacre documentaries mainly along the axes of testimonial mode, gender, and intergenerational and transnational memory frameworks...
Journal Article
Camera Obscura (2003) 18 (2 (53)): 125–151.
Published: 01 September 2003
... the Look”: Jonathan Demme’s The Silence of the Lambs Andrew Schopp Much of the initial reaction to Jonathan Demme’s film adaptation of The Silence of the Lambs (US, 1991)1 centered on the film’s prob- lematic depiction of serial killer Buffalo Bill (Ted Levine), as this depiction...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 93–104.
Published: 01 September 1977
...Bertrand Augst © 1977 by Camera Obscura 1977 The Defilement Into the Look. Bertrand Augst Thierry Kuntzel's' closescrutiny of the effect produced by the defilement of a series of still images passing through the gates of a projector, and Raymond Bellour's- analysis...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... in practice: women make movies at forty Looking Back and Forward: A Conversation about Women Make Movies Debra Zimmerman and Patricia White In the summer of 1984 I interned at Women Make Movies, work- ing closely with Debra Zimmerman, the organization’s relatively new director...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 159–169.
Published: 01 September 2020
... significantly after the 1930s. As producer Jan Chapman Looking Back, Moving Forward: Retrospectives at the Melbourne Women in Film Festival Janice Loreck, Sian Mitchell, Whitney Monaghan, and Kirsten Stevens Camera Obscura 104, Volume 35, Number 2 doi 10.1215/02705346-8359640 © 2020 by Camera Obscura Published...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 115–147.
Published: 01 May 2022
..., and no message other than its own infinite perpetuation. This configuration brings us, of course, to the industrialist Gherardini (Vincenzo Corbella), who characteristically presents himself in a heroic light: “I've always looked upon my businesses as works of art. Their financial profit was almost...
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Journal Article
Camera Obscura (2022) 37 (2 (110)): 149–159.
Published: 01 September 2022
...Shana MacDonald Abstract This article looks at the work of the Drunk Feminist Film (DFF) collective from Toronto, Canada. DFF screenings offer interactive in‐person and online events that combine watching popular Hollywood films with simultaneous live commentary, audience participation, and hashtag...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 59–83.
Published: 01 September 2014
... and transgressively intimate mode of looking at bodies. At the same time, the shame involved in this act of looking animates a sense of social connectedness and feelings of relatedness to others that are also pleasurably intimate. The viewer's pleasure in this intimacy can be understood in relation to the traditional...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 197–217.
Published: 01 May 2019
...Sandra Percival This essay brings to the fore the voice of composer and cellist Sonia Wieder-Atherton, who was Chantal Akerman’s collaborator and life partner for over thirty years. This dialogue was initiated in 2016 by Sandra Percival, founding director of Zena Zezza, who curated LOOKING, REALLY...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 132–141.
Published: 01 December 2020
... of creating a visual archive to offer a look back and a look forward at the practice of Black photography. Figure 1. Willis proposed this independent research project in 1973. Scholars working in media studies, film studies, and art history have come to Deborah Willis s work to better understand Black visual...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 155–165.
Published: 01 September 2016
... of visibility in an age of pervasive surveillance, Blas and Gaboury look to the work of artists and critical thinkers who offer alternate modes of veiled, obscured, or otherwise negotiated being in the world. Focusing on Blas's own work, the conversation interrogates what Blas terms “informatic opacity” through...
Published: 01 September 2021
Figure 1. A Nazi doctor strangles a young survivor of Zyklon B gassing as a Hungarian doctor and another SK man look on ( Son of Saul , dir. László Nemes, Hungary, 2015). More
Journal Article
Camera Obscura (2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
...Ani Maitra In a conversation with the queer South Asian independent filmmaker and video artist Hima B. and through an analysis of her cinema verité work-in-progress And I Do Survive , this interview-article looks at the relationship between televisual discourse and “citizenship” as a form...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 131–157.
Published: 01 May 2011
..., there is a danger of underplaying, reifying, or of just not looking at the spaces of belonging and inhabitance that are also characteristic of an era of transnational migration. As a result, theories of transnational and diasporic cinema run the risk of closing down spaces for considering the complexities...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
..., industrial, and transnational levels. In the Twilight series, Pattinson's highly flexible star image appeals to audiences with different kinds of sexual or romantic desires, for if we look carefully at the way Edward Cullen is represented, and how Pattinson is marketed in the media, he is portrayed as both...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 25–59.
Published: 01 September 2012
... pleasure operates in occult melodrama we must look beyond visual pleasure and toward a type of pleasure that is intimately bound to the multiple forms of anxieties and invisibilities on which the films are predicated and which they register through the inherently mutable and unstable technology of video...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 155–160.
Published: 01 September 2012
... 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 (Foundation...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 77–107.
Published: 01 September 2013
...). The article looks at these documentaries to explore black female subjectivity, with the trope of adoption acting as an organizing narrative principle. Adoption is treated as a metaphor of sorts, and one that might dislocate the primacy of traditional moralizing about what it means (not) to be a mother...