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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2019) 34 (2): 41–69.
Published: 01 September 2019
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 161–179.
Published: 01 May 1997
...Pat Gill Copyright © 1996 by Indiana University Press 1997 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 1–27.
Published: 01 December 2011
.../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 Education’s ‘Billy Elliots.’ ” It detailed...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... rendered by montage or whip pans. The Snake Pit and Sorry, Wrong Number , like other films of the 1940s centered on female insanity, exploit the language of cinema in order to make spectators partake in their pathologized versions of the sensory world. This restructuring of perception by mental illness has...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 101–127.
Published: 01 May 2015
... the sense of a regimen for cultivating the self, as Michel Foucault argues in volume 3 of The History of Sexuality . As Foucault makes clear, any care regimen is also an ethos in the classical sense, pertaining to debates about contested meanings and values particular to a community that in turn...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
... celebrate them but as part of a “make-do” identificatory project through which black female audiences can indulge the ostensibly disreputable aspects of themselves within their own communal spaces. Kristen J. Warner is an assistant professor in the Department of Telecommunication and Film at the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
... racism to losing their jobs. In this essay, I argue that Bookchin's work makes an important feminist intervention into discourses that either demonize or lionize social media. Utilizing strategies of seriality, database/narrative, and orchestration, Bookchin crafts a set of composite found footage texts...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... from others and vice versa, and their constant association with that which is considered gross (like dirt, vomit, and feces) is habitually a sign of what emotional and economic insecurity has wrought. However, race makes a critical difference in the treatment of abjection in these two shows. While...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 155–165.
Published: 01 September 2016
... opacity” through a discussion of his Facial Weaponization Suite (2011–14), a series of biometric masks that ask who and what we make visible to technology. Looking to the face as a critical site for negotiated visibility, Blas and Gaboury draw on diverse traditions of concealment and performance to frame...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2018) 33 (2 (98)): 139–159.
Published: 01 September 2018
... animation’s reallyism : a nonce word meant to signal, through the prosthetic addition of a cheeky syllable, the both/and of genuine realism as augmented by ly rical (or sil ly ) escapes from it. Where the “reallyism” of limited cel animation is more particularly concerned, formal repetition and banality make...