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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 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 December 2011) 25 (3 (75)): 1–27.
Published: 01 December 2011
...) 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 proposals to pay “a...
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 September 2015) 30 (2 (89)): 157–187.
Published: 01 September 2015
... 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 his time to writing...
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
... 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 industrial...
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 September 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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. Camera...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... and nonsight in the context of war in Southeast Asia, illuminating the contradictions of representing Cambodian history and “seeing,” or apprehending, trauma and memory through cinema. I trace the connected, if not commensurate, powers that seek to make sense of their senselessness, their blindness...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 1–31.
Published: 01 September 2011
... pieces of scholarship that do engage with Clarke's career and with Portrait of Jason share a particular line of argumentation: that this work defies categorization. While this makes for a fundamental and significant insight, it produces an overall portrait of privation that does not sufficiently identify...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
... when the US and UK versions did well in Australia. Analyzing the US and UK shows, we consider how discourses of nation, class, and empire coalesce in Supernanny to make localization irrelevant for the Australian market and audience. John McConchie and Karen Orr Vered are colleagues in the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
... constraints we discuss in our essays. Rather than seeing those complex negotiations as a drawback, we suggest that these very tensions have created this culturally rich form. It is this complexity that makes vidding an enticing object for academic analysis, but even more so an important aesthetic and...