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lyrical film

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Journal Article
Camera Obscura (2020) 35 (3 (105)): 60–87.
Published: 01 December 2020
... it to the elision of gendered labor found in Stan Brakhage’s lyrical film Star Garden (US, 1974). The article charts two types of gendered labor Robertson engages in over the course of the project. First, as a document that tracks Robertson’s weight loss, a form of labor that she presents in a register...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 139–161.
Published: 01 May 2019
...Kelley Conway Chantal Akerman’s films are typically characterized as minimalist and melancholy due to her signature long takes and understated performances. Yet her films also express extraordinary lyricism and euphoria, notably through song. Amid the highly patterned narratives and the exquisitely...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 60–71.
Published: 01 September 1983
..., does the fact that Keller (intentionally or not) "reworked" the principles ofBrakhage or any other' 'patriarchal" filmmaker necessarily or in itself' 'make a feminist meaning"? The film may attempt to rework or subvert Brakhage's somewhat lyrical filming strategies but the point...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
... throughout the film, it seems fitting that a tiny three-line section should be missing.6 A subtle lyrical difference between the two halves of the song corresponds to the microdrama that unfolds during this sec- ond performance. The first half of the song posits certain memo- ries (“She wore...
Journal Article
Camera Obscura (2006) 21 (2 (62)): 74–107.
Published: 01 September 2006
... Obscura song — disabled veterans, unemployed farmers, and out-of-work laborers — is muted by the socially conventional difference, the difference between woman and man, with which the lyric ends. It is as if the lyric, like the narrative dimension of the film, attempts to inoculate...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 219–226.
Published: 01 December 1989
... Copyright © 1990 by The Johns Hopkins University Press 1989 regard that data from audience surveys, fan letters, oral histories and 219 non-filmic instances of representation can be a valuable, supplementary source, helping to elaborate the web of discourses intersecting any film...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
... entertainment impulse oper- ate alongside each other, as exemplified by the radical poets of the 1950s.6 The poets wrote political poetry as well as Hindi film lyrics, often combining the two. I believe that there are no pure originary notions — all things are simultaneous across cultural forms...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
...Edward Baron Turk Copyright © 1991 by The Johns Hopkins University Press 1991 I Married an Angel (W. S. Van Dyke, MGM, 1942) Deriding the Voice of Jeanette MacDonald: Notes on Psychoanalysis and The American Film Musical Edward Baron Turk I...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 1–27.
Published: 01 September 2015
... and total collapse, yet poised expectantly toward new horizons of the “everyday,” ready to arrive. 20  •  Camera Obscura Notes 1. Conner specified that the titles of his artworks and films appear in all capital letters. 2. Antonia Christina Basilotta, “Breakaway,” music and lyrics...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 129–159.
Published: 01 December 2015
...Usha Iyer Though popular Hindi cinema is frequently identified by its song-and-dance sequences, little has been written specifically about film dance. This article analyzes film dance and female stardom in Hindi films of the late 1980s and 1990s through an examination of the star text of Madhuri...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 105–145.
Published: 01 May 2006
... the flowers herself,” a line spoken in the film by Virginia as she begins writing her book. With its signature trans­ historical lyricism, just after Virginia says this line, the film cuts to Laura Brown, who has just started reading Mrs. Dalloway while in bed and who repeats the first line out loud...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 139–146.
Published: 01 September 2011
...Kristina Busse; Alexis Lothian Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
... fitness. As Yeh observes, the film sets out to legitimize dance as a “healthy, athletic, and kinetic art form.”26 The “I Love Cha-Cha” number 24  •  Camera Obscura that comes later in the film takes place in a high school gymnasium, and the song’s lyrics include the lines We merrily go...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 148–175.
Published: 01 May 1990
... the fans’ experience of watching the ch.aracters gets translated into a musical interpretation of their thoughts. Ecklar’s “One Final Lesson” posits depths to Savick’s personality which were never disclosed in the Par- amount film upon which it is based. Her lyrics suggest...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 31–53.
Published: 01 May 2023
...Elspeth Mitchell Abstract One of Akerman's lesser‐known films, Portrait d'une jeune fille de la fin des années 60 à Bruxelles ( Portrait of a Young Girl in the Late Sixties in Brussels , Belgium, 1993) provides a critical lens for discovering the cinéfille as a concept for Akerman's cinema...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 68–81.
Published: 01 May 1988
... to the process given by the film, in which song lyrics addressed to one’s “baby” would literally refer to a baby (“Little baby want to hold you tight / I don’t ever want to say goodnight though retaining, of course, the sexual charge they have gained from years of metaphoricity.’O It becomes apparent...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
..., privileges corporeal fragments much more than reel B, which is dominated by images of complete bodies.”22 Christmas on Earth, while soliciting musical and lyrical accompaniment, imaginatively undermines the conventional narrative progression of sex films. The film, as Osterweil remarks, refuses...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 137–145.
Published: 01 September 1977
... antithetical double, silence; the lyrical quality of the voices. Baxter, VeraBaxter was shot and edited early in 1976, but its opening in Paris was delayed until mid-June of this year. Duras herself has said that in Vera Baxter 'I have regressed (it) remains a film that is exterior to me. ' 1 In theme...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 178–183.
Published: 01 May 2008
...Lucas Hilderbrand Camera Obscura 2008 Lucas Hilderbrand is an assistant professor of film and media studies at the University of California, Irvine. His book Inherent Vice: Bootleg Histories of Videotape and Copyright is forthcoming from Duke University Press. “More Than One Way...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
... an impor- tant twenty-­first-­century challenge to the relationships between performance and performer, film and archive, and death and the image. The lyrics of the song that ushered in the virtual Tupac’s Coachella appearance, “Hail Mary,” suggest the performer’s eerie implications. The song...