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Camera Obscura (2020) 35 (2 (104)): 1–35.
Published: 01 September 2020
... and Twitter feeds, contentious opinion pieces appeared in the New York Times, and gender transition became a common topic of conversation among people for whom it had previously been an How Pictures Make Bodies and Bodies Make Pictures: Gender as a Scopic System in Annie Leibovitz s Photographs of...
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
...Debra Zimmerman; Patricia White Debra Zimmerman, executive director of Women Make Movies, talks about the organization on the occasion of its fortieth anniversary with Camera Obscura editorial collective member and Women Make Movies board chair Patricia White. Women Make Movies was formed in 1972...
Camera Obscura (1992) 10 (2 (29)): 224–232.
Published: 01 May 1992
...Ann Barry Flood Copyright © 1992 by Indiana University Press 1992 Breast Cancer: Adjuvant Therapy, Dartmouth Interactive Laboratory’s Shared Decision-making Program (1992) Empowering Patients: Using Interactive Video Programs To Help Patients Make...
Camera Obscura (2019) 34 (2): 41–69.
Published: 01 September 2019
Camera Obscura (2020) 35 (3 (105)): 60–87.
Published: 01 December 2020
... quality to use domestic labor as a form of world-making. At odds with the way the domestic realm is presented by the women’s movement as what keeps women captive in a never-ending cycle of repetitive, meaningless work, the essay argues that Robertson records her domestic labor as not just a means to an...
Camera Obscura (2011) 25 (3 (75)): 1–27.
Published: 01 December 2011
... individual talent. Billy Elliot (dir. Stephen Daldry, UK/France, 2000) Making Electricity: Narrating Gender, Sexuality, and the Neoliberal Transition in Billy Elliot David Alderson On 25 July 2009, an article appeared in the Guardian newspaper entitled “Government Pledges Cash Help for...
Camera Obscura (1992) 10 (1 (28)): 134–151.
Published: 01 January 1992
...Alexandra Juhasz Copyright © 1992 by Indiana University Press 1992 HZV TV (VIP Video Support Group, 1990) WAVE in the Media Environment: Camcorder Activism and the Making of HIV TV Alexandra Juhasx Camcorders have brought television production...
Camera Obscura (1997) 14 (1-2 (40-41)): 161–179.
Published: 01 May 1997
...Pat Gill Technostalgia: Making the Future Past Perfect Pat Gill In Postmodernism, or the Cultural Logic of Late Capitalism, Fredric Jameson argues that in the postmodern age nostalgia has replaced history as the way of understanding and responding to our personal and...
Camera Obscura (2015) 30 (1 (88)): 41–69.
Published: 01 May 2015
... convergence, the article maps the supplemental transactions between the medial inscription of liveness and the biopolitical imperative to make live. It argues that reality TV's preoccupation with the obese body functions as a mechanism for the negotiation and containment of the medium's own anxieties over its...
Camera Obscura (2016) 31 (1 (91)): 165–173.
Published: 01 May 2016
...: Lift Animation, Lantern Software, and the Making of Community Donna Kornhaber Thesis 1: The animation industry has historically proved inhospitable to collectivity and to women. Animation may be an art form associated with fantasy and whimsy, but it is an art form of a particularly...
Camera Obscura (2020) 35 (3 (105)): 132–141.
Published: 01 December 2020
..., for city directories that listed Black photographers, which Making Space: Deborah Willis and the Archive of Black Visual Culture Jasmine Nichole Cobb Camera Obscura 105, Volume 35, Number 3 doi 10.1215/02705346-8631595 © 2020 by Camera Obscura Published by Duke University Press 133 I N P R A C T I C E...
Camera Obscura (2015) 30 (2 (89)): 157–187.
Published: 01 September 2015
... Bomb (dir. Stanley Kubrick, US/UK, 1964) The Terror That Makes One Whatever One Is: Sterling Hayden’s Emotional Testimonies Matt Tierney Terrifying Problems of Social Commitment Late in his life, the actor Sterling Hayden appeared in fewer mov- ies and devoted more of...
Camera Obscura (2010) 25 (2 (74)): 173–181.
Published: 01 September 2010
...Rosa-Linda Fregoso In January 2007 the author interviewed Vicky Funari and Sergio de la Torre about the making of their new documentary Maquilapolis . Produced and developed in partnership with the Chilpancingo Collective, Maquilapolis is filmed in the first “maquilized” city in the Americas...
Camera Obscura (2012) 27 (3 (81)): 101–135.
Published: 01 December 2012
..., a return to Austinian speech-act theory reminds us that the performative act strives to make real what is not yet real, to conjure forth and to confirm a new reality. In other words, the performative seeks to essentialize, to assert new truths at the level of the self and make them stick. In...
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... openness to new ideas, new people, and new connections—that makes them sane. This notion provides a way of thinking about the aesthetic and political stakes of a collaborative process of creative production, such as the one employed in the making of Shortbus and made visible in its final form. This essay...
Camera Obscura (2016) 31 (2 (92)): 119–147.
Published: 01 September 2016
... in mediating, without collapsing, significant differences between the women whose lives are at stake in these documentaries and the women who make and watch such films? The delicate balance that makes possible a transnational feminist ethics of identification in these films exists in the management...
Camera Obscura (2008) 23 (2 (68)): 103–139.
Published: 01 September 2008
... with suffering. Walk on Water 's protagonist, a Mossad assassin, attempts to bask in the suffering of at least three groups as the film unfolds: Israelis as victims of Palestinian terror, Jews as victims of the Nazis, and queers as victims of homophobia. None of these moments, however, make him cry...
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... colonial fetish that haunts the making of modern architectural theory and the celebrity of Baker become the site of critical possibility through which we can track the conjoined stories of “modern nudity” (as stylized purity) and “primitive nakedness” (as material embodiment.) Tracking the charged concepts...
Camera Obscura (2010) 25 (1 (73)): 161–195.
Published: 01 May 2010
... sought—the means to make the body meaningful. Beautiful Agony provides a useful lens through which to examine categorizations such as “hard core” and “amateur” and how these designations are shifting as a result of increasing access to new media technologies and the subsequent cultures they fuel. Image...
Camera Obscura (2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... spectatorship and the multiplicity of gazes at play in the making of this authenticity. Specifically, the tape illuminates the reflexive constitution of an authentic black masculinity via the white female gaze while further revealing pornography's investment in the imaging and imagining of a genuine black...