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Journal Article
Camera Obscura (1977) 1 (2 (2)): 131–136.
Published: 01 September 1977
...Constance Penley What Maisie Knew by Babette Mangolte CHILDHOOD AS POINT-OF-VIEW Babette Mangolte describes What Maisie Knew as 'a film made around the subjective camera, the vision of a child, and a re-reading of the Henry ]ames novel.' Immediately one can see the...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 198–210.
Published: 01 May 1979
.... CO: What do you think of your film What Maisie Knew with respect to the novel of Henry James? And also, how did you come to choose that novel? BM: It was quite by accident. It was something that I had read a long time go. When I read Maisie I was about sixteen and I read...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 194–197.
Published: 01 May 1979
... camera. She proceeds from this concrete notion of point of view to a complex investigation of the rhetorical, social and unconscious aspects of point of view. What Maisie Knew uses a fxed and frontal camera set-up with no reverse shots to create a fiction out of the superimposition of two...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 3–4.
Published: 01 May 1979
... conference, in the three weeks preceding it, the Co-op had screened several films which have been important to our work: Yvonne Rainer’s Film About a Woman Who.. ., Jackie Raynal’s Deux Fois, Chantal Akerman’s News from Home, Marguerite Duras’s India Song and Babette Mangolte’s What Maisie Knew...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 116–118.
Published: 01 September 1980
..., Constance The Avant-Garde and Its Imaginary. Vol. I, no. 2; pp. 3-33. What Maisie Knew (Babette Mangolte): Childhood as Point-of-View. Vol. I, no. 2; pp. 131-136. The Camera: Je (Babette Mangolte). Vol. I, no. 3-4;pp. 195-197. Rainer, Yvonne Interview with Camera Obscura. Vol. I...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 128–139.
Published: 01 May 1976
... Commerce, 1080 Bruxelles, 1975); the "Words" se- quence of Michael Snow's Rameau's Nephew; and RoofPiece, 1973, with Trisha Brown; video camerawork for pieces by Joan Jonas (Organic Honey's VerticalRolI, 1973; Funnel, 1974; GlassPuzzie, 1974). WHAT MAISIE KNEW (1975) 58 min. ; B& W; 16mm...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 1–21.
Published: 01 December 2004
... of their posi- tioning, like the title character in Henry James’s What Maisie Knew (1897), in an epistemologically unstable relation to sexuality. What they can know, or should have known, or do know about sexuality is indeterminate and plural, yet always a refraction in some way of adult mores...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
Journal Article
Camera Obscura (1995) 12 (2 (35)): 186–221.
Published: 01 May 1995
..., the possibilities of what was there? Of course, many painters at that time were preoccupied with similar issues, with the idea of going beyond the edge of the frame. SM: Babette Mangolte once told me in connection with What Maisie Knew [1975] that a filmmaker can put any...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 75–117.
Published: 01 September 2010