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Camera Obscura (2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
... of governmentality. Shot in real time between 2002 and 2007, And I Do Survive takes as its subject the HIV-positive bisexual activist Michelle Lopez. Born in Trinidad, Lopez has been in the US for close to two decades now but has been unable to acquire citizenship because of a legal ban on HIV-positive immigrants...
Published: 01 May 2021
Figure 6. Jacopo Pontormo, Visitation (ca. 1528–30). Oil on panel, 80 × 61 in. The Church of San Michele e San Francesco, Carmignano, Italy Figure 6. Jacopo Pontormo, Visitation (ca. 1528–30). Oil on panel, 80 × 61 in. The Church of San Michele e San Francesco, Carmignano, Italy More
Camera Obscura (2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
...Michelle Langford Camera Obscura 2007 Michelle Langford lectures in film studies in the School of English, Media, and Performing Arts at the University of New South Wales. She is the author of Allegorical Images: Tableau, Time, and Gesture in the Cinema of Werner Schroeter (2006...
Camera Obscura (2008) 23 (3 (69)): 1–33.
Published: 01 December 2008
... in two seminal contributions to Palestinian cinema, Michel Khleifi's Wedding in Galilee and Elia Suleiman's Divine Intervention . Paying close attention to the contested structures of nation, postcoloniality, gender, and identification within the films, the article examines the extent to which Khleifi...
Camera Obscura (2010) 25 (2 (74)): 1–39.
Published: 01 September 2010
... on their assumptions about those products' primary users. Michel Foucault's theories of governmentality and disciplinary technologies are also employed to understand how the micropolitics of gendered product design connect with the macropolitics of social control. Building on feminist technology research, this study...
Camera Obscura (2015) 30 (1 (88)): 101–127.
Published: 01 May 2015
..., in 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 produce...
Camera Obscura (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
... the film sound theorist Michel Chion calls the acousmêtre , or the acousmatic voice. By bringing together Chion, Lacan, and feminist film theory, the article analyzes the acousmatization of the male voice in Gabbeh (dir. Mohsen Makhmalbaf, Iran/France, 1996) and Banoo-ye ordibehesht ( The May Lady , dir...
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
..., and internal memos) of women story editors such as Dorothy Hechtlinger, Alice Young, Jacqueline Babbin, and Janet Wood in conjunction with the historical work of David Waterman and Erin Hill, as well as the theoretical model Michel Foucault posits in his essay on the criminal notices of obscure “infamous men...
Camera Obscura (2016) 31 (3 (93)): 165–175.
Published: 01 December 2016
...Liz Clarke; S. Topiary Landberg In this article, the authors argue that the 2013 omnibus film Valencia: The Movie/s (US) presents a unique approach to collective filmmaking in its adaptation of Michelle Tea's queer coming-of-age memoir Valencia (2000). This approach creates a sense of cultural...
Camera Obscura (1984) 4 (3 (12)): 86–88.
Published: 01 December 1984
.... Paris: Armand Colin, 1970. Muriel: histoire d’une recherche (collective text co-written with Claude Bailble and Michel Marie). Paris: Galilee, 1975. Octobre: ecri‘ture et ideologie (co-written with Pierre Sorlin and Michele Lagny). Paris: Albatros, 1976...
Camera Obscura (1984) 4 (3 (12)): 107–109.
Published: 01 December 1984
.... 475-502. “For a Pseudo-Theory,” trans. Moshe Ron, Yale French Studies, no. 52 (1775), pp. 115-127. “The Tooth, the Palm,” trans. Anne Knap and Michel Benarnou, Sub- Stance, no. 15 (1976), pp. 105-110. ‘The Unconscious as Mise-en-scene,” trans. Joseph Maier...
Camera Obscura (2020) 35 (2 (104)): 95–123.
Published: 01 September 2020
... people lie on the same parts of the beach, they turn and look in the same way, and they more or less know each other. This is, in fact, a small com- munity that practices the same rituals with the same interest follow- ing a stable routine. The strangers, however, are different. Michel (Christophe Paou...
Camera Obscura (2021) 36 (3 (108)): 105–117.
Published: 01 December 2021
..., exclaimed, “Barbara, you've lesbianized the world again!” 2 The exclamation mark placed at the end of Hubbard's comment in the Indiewire interview between Hammer and the filmmaker/video artist Michelle Handelman captures Hammer's excitement in making and talking about these documentaries. And anyone...
Camera Obscura (1993) 11 (1 (31)): 96–119.
Published: 01 May 1993
..., and perversions. The Pauley segment is unusual for the show, which usually reserves the interview for crime victims, but, as a demonstration of AMW’s therapeutic intent in its representation of the criminal as patient, it is exemplary. 3. The Dangerous Individual Michel Foucault has argued...
Camera Obscura (1995) 12 (3 (36)): 32–48.
Published: 01 September 1995
... For Frann Michel, although Jordan challenges racist assumptions in The Crying Game, “the fact that the film’s two black or biracial characters are also sexual outlaws leaves unquestioned a conventional equation between racial and sexual otherne~sMichel makes no distinction...
Camera Obscura (1990) 8 (1 (22)): 138–149.
Published: 01 January 1990
..., be- tween feminism, the ascendent term, and Foucault. Feminism and Fou- cault: Reflections on Resistance (1988), edited by Irene Diamond and Lee Quinby, marks the mutual implication of Michel Foucault’s work and various approaches to feminism. And while Feminism and Foucault does not discuss...
Camera Obscura (2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
... Keener plays Terri, a starkly misanthropic figure who claims that relationships, care, and love are all a “disease.” Shortly after, in Nicole Holofcener’s Lovely and Amazing (US, 2001), Keener plays Michelle, a thirty-six-year-old who embarks on an affair with a seventeen-year-old male...
Camera Obscura (1977) 1 (2 (2)): 137–145.
Published: 01 September 1977
.... In an interview with Michelle Porte", included in the published text of Le Carnian, Duras recounts the genesis of the film. In the first stage of her thinking about the film she had expected to use an actress to play the role of the woman, either Simone Signoret or Suzanne Flon, but neither...
Camera Obscura (1989) 7 (2-3 (20-21)): 336–372.
Published: 01 December 1989
.... Baltimore: Johns Hopkins University Press, 1982. Barrett, Michele. “Ideology and the Cultural Production of Gender.” Feminist Criticism and Social Change: Sex, Class and Race in Literature and Culture. Edited by Judith Newton and Deborah Rosenfelt. New York: Methuen, 337 1985...
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... and defnite principles of intelligibility because, overall, the flm does not provide a visual, narrative, or generic gestalt for them. Rather, Shadowboxer can be seen to enact what Michele Prettyman Beverly has described as a post-black “politics of bodily liberation” in which white and black...