1-20 of 24 Search Results for

madeleine

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
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
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 | View All (5)
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...