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madeleine
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Journal Article
Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
... fails to save Madeleine from
jumping off the tower. Vertigo (dir. Alfred Hitchcock, US,
1958). Courtesy British Film Institute
Vertigo and the Vertiginous
History of Film Theory
Kriss Ravetto-Biagioli
Fifty years after its initial release, Alfred Hitchcock’s Vertigo (US,
1958...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
... Television Net-
work, 2011), the documentary feature Sol (dir. Marie-Hélène
Cousineau and Madeleine Ivalu, Canada, 2014), and the feature
films Le jour avant le lendemain (Before Tomorrow, dir. Marie-Hélène
Cousineau and Madeleine Ivalu, Canada, 2008) and Uvanga (dir.
Marie-Hélène Cousineau...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 144–180.
Published: 01 September 1991
... the tale of two women friends in 1950s France, Lena (Isabelle
Huppert) and Madeleine (Miou-Miou). The two friends ultimately
leave their husbands to raise their children on their own. Whether as
friends or as lovers is unclear, however, because the story is told by
one...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 133–175.
Published: 01 September 2001
... strategist, Madeleine. Sounding much like
Henry Higgins admonishing Eliza Doolittle in Shaw’s Pygmalion
(1914) to walk, talk, and act like a regular lady, Madeleine tells
Nikita in the pilot episode, “You can shoot, you can fight, but
there is no weapon as powerful as your femininity.” Overseeing...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 104–132.
Published: 01 May 1979
...-
example. The woman is the object of an illusory psychosis; she is an
image of psychosis, turned toward death in a twofold manner, through
the image-painting of Carlotta Valdes. She awakens a passion in the
man: the desire to see, mesmerized by death; this is the moment when
Scottie tears Madeleine...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 67–92.
Published: 01 September 1977
... to a passion for the image
(reduplicated: Scottie isfascinated by Madeleine because she is herself fas-
cinated by an image: the recession of the phantasy, particular to the
scopic drive, constitutes the scene). A passion which precipitates, almost
in a chemical sense, the peculiar affinity...
Journal Article
Camera Obscura (2004) 19 (1 (55)): 77–111.
Published: 01 May 2004
... (James Stewart) approaches
Madeleine (Kim Novak) from behind in the museum. Although
he is voyeuristically following her, his investigative gaze loses its
objective when confronted by the captivating feminine image.
Just as Madeleine is absorbed by the portrait of Carlotta Valdez, so
Scottie...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 64–87.
Published: 01 September 1990
... of the search
for lost time, it is the tense of time regained): the memory, as with
the tasting of the madeleine, is attached to a sense experience-“an
object, a gesture, a scene.” But it also evokes the photograph according
to Barthes, combining “This will be and this has been,” “that is dead...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 137–145.
Published: 01 September 1977
..., another production in 1975, and a film that was
made for TV and then had a commercial showing in Paris in February of
this year. The film was made of the 1975 theatrical production which had
been a standing-room-only hit with Madeleine Renaud in the principal
role. Despite the film's theatrical origin...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... treatment of light,
texture, and hue — into the scene staging Judy’s final reappearance
as Madeleine, the woman she impersonates in the first half of the
film. The painting is now above the bed in her hotel room, and
she is walking past it, dressed and coiffed as Madeleine, a ghost
enveloped...
Journal Article
Why Isn't Michelle Lopez on Judge Judy ? Citizenship and Televisuality in Hima B.'s And I Do Survive
Camera Obscura (2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
...
12. Jill Nagle, “Showing Up Fully: Women of Color Discuss Sex
Work—Blake Aarens, Hima B., Gina Gold, Jade Irie, Madeleine
Lawson, and Gloria Lockett,” in Whores and Other Feminists, ed. Jill
<fig. 2 cap.>Streets of London, Children...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... of decorum. We can
imagine Vertigo (dir. Alfred Hitchcock, US, 1958) as the operative
reference, with some reconfigurations to its narrative unfolding
that aim to avoid, for example, Scottie’s (James Stewart) recogni-
tion that Madeleine and Judy (Kim Novak) are the same woman, or
to rewrite Judy’s...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 192–209.
Published: 01 December 1982
... result, also
emphasized by strictly narrative means, is to underline the fact that
music in Western society is a consumer item (Nana sells records in Vivre
sa vie; Madeleine is a pop singer in Masculinfiminin).
Turning finally to what is broadly termed “sound effects,” we en-
counter...
Journal Article
Camera Obscura (1992) 10 (3 (30)): 34–49.
Published: 01 May 1992
... of Ashenden’s first meeting with Elsa (Madeleine Carroll).
Before he enters the apartment, he pauses to see if it is the right one,
and there are two point of view shots-the slip from the hotel desk
with 271 on it and the number 271 on the door-that establish...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
....
It is certainly possible that female viewers — at least those
who were relatively accustomed to soap opera tropes — watched
the program differently from male viewers without this familiarity.
Indeed, Madeleine Edmondson and David Rounds point out that
many soap viewers saw Mary Hartman...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 226–242.
Published: 01 May 1997
..., from the mouths of the supposedly insane. Human reason,
in fact, is repeatedly assaulted by this film, which not only dramatizes
Dr. Catherine Railly’s (Madeleine Stowe’s) loss of faith in the “sci-
ence” of psychology and gives the most trenchantly logical speeches
to the ravingly “insane...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 7–33.
Published: 01 December 2023
... that, not incidentally, was originally designed to be rewatched in specific ways—in other words, this emergence of a fan culture—is often attributed to the campy excess of the film's performances, as epitomized in Madeleine Kahn's iconic, improvised “flames on the side of my face” speech. 3 I would like to suggest...
FIGURES
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Journal Article
Camera Obscura (2019) 34 (3): 97–125.
Published: 01 December 2019
... and aggression, see D. W. Winnicott, Aggression and Its Roots, in Deprivation and Delinquency, ed. Clare Winnicott, Ray Shepherd, and Madeleine Davis (London: Tavistock, 1984), 84 99, especially 87 88. 10. The Hollywood foothills are one of the four spatial ecologies that Reyner Banham attributes to Los...
Journal Article
Camera Obscura (2024) 39 (2 (116)): 41–69.
Published: 01 September 2024
... expressed or engaged with in popular culture texts: Hannah Gadsby's Nanette (dir. Madeleine Perry and John Olb, Australia, 2018), Emerald Fennell's Promising Young Woman (US, 2020), and Chilling Adventures of Sabrina (Netflix, 2018–20), to name just a few. This mediatization of feminist anger...
FIGURES
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 74–100.
Published: 01 September 1991
... -that is, the reducing of a female
subject (Judy) to a mirroring blonde object (Madeleine)-Strangers OIZ
a Train explores the structuration of a male subject, an exploration
from which what I will call the “blonde-function” is notably absent
in any recognizable form. As a result, the film...
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