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Journal Article
Camera Obscura (1989) 7 (1 (19)): 24–53.
Published: 01 January 1989
...Judith Mayne Copyright © 1989 by The Johns Hopkins University Press 1989 Potemkin (Sergei Eisenstein, 1925) Soviet Film Montage and the Woman Question Judith Mayne Virtually all critics of Soviet film of the 1920s would agree that the development of the cinema needs...
Journal Article
Camera Obscura (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 (2015) 30 (2 (89)): 1–27.
Published: 01 September 2015
...Johanna Gosse San Francisco artist Bruce Conner established himself as a major figure in postwar underground cinema with his first film, A MOVIE (1958), a masterpiece of found-footage montage. Yet Conner also shot several films with his own camera, many of which feature a nude or partially clothed...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 69–85.
Published: 01 December 2022
...Ivan Cerecina Abstract This paper describes the history of the writing and the intellectual context for Nicole Vedrès's essay “The Leaves Are Stirring.” It places Vedrès's claims about cinematic realism and montage in dialogue with canonical theorizations of film theory in France at this pivotal...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 59–67.
Published: 01 December 2022
... vigor among French film writers in the period after the war. These include questions of cinema's relationship to the real, the ability of images to capture historical change, and the relationship between cinematic montage and the act of writing. Copyright © 1965 Nicole Vedrès. English translation...
Journal Article
Camera Obscura (2018) 33 (2 (98)): 161–195.
Published: 01 September 2018
... “exotic.” The production insisted on her embodiment of the Hollywood beauty ideal during World War II and defined feminine beauty in terms that would not offend soldiers overseas. Fox went as far as to excise a montage sequence in which the influential columnist Waldo Lydecker (Clifton Webb) helps make...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 66–85.
Published: 01 December 1984
.... For example, Metzian segmentation turns out to be usable only for the demarcation of physical jumps in montage, but is of little aid in specifying the temporal or spatial or semantic import of those jumps. The book, Octobre, becomes not the steady application of a method...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 1–31.
Published: 01 May 2005
... Manovich describes the compositional organization of multiscreen works as “spatial montage,” and he argues that the tra- dition of spatial narration in Western culture, from fresco cycles to narrative paintings, was suppressed by Fordist modes of pro- duction that instead emphasize sequential...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 192–209.
Published: 01 December 1982
.... Thus, the numerous possible linguistic options become elements in a large scale montage that operates in the sphere of language. This phenomenon of montage-within-an-information-channel can be seen even more clearly in the case of socio-political markers of language use...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 1–29.
Published: 01 December 2002
..., or superimposes a word on an image or a palimpsest of images. A sequence from part 1B of Histoire(s) du cinéma renders unusually explicit the Benjaminian imperative driving such formal experimentation. This sequence begins with a montage of train images, drawn from a range of films. With it, Godard...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 50–83.
Published: 01 September 1985
...Jacques Aumont; Andrew Ross Copyright © 1985 by Camera Obscura 1985 Eisenstein’s sketch “My Position at Work” Eisenstein: Notes Towards a Biography Jacques Aumont Introduction This essay about Eisenstein’s memoirs forms the first chapter of Montage Ezsenstein (forthcoming...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 91–121.
Published: 01 September 2011
...’ beneficial effects as the back of the woman’s head, and her much improved hair, are represented. A separate single shot again focuses on the woman’s face in isolation; she now appears satisfied (see figs. 1 and 2). This stylistic technique is necessary to comply with codes of modesty; montage...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
... on an excessive use of rapid montage sequences featur- ing close-­ups of faces, diseased body parts, animals living on the colony ground, and various flora, while jump cuts emphasize the dissonance between sound and image. The film displays interest in its own formal experimentation, with little concern...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 97–103.
Published: 01 May 1976
... film Between objective reality and the film perceived as a finished product in a movie theater, a series ofcomplex transformations have taken place, each 98 occupying a precise place in the apparatus. There is first the distinction between decoupege and montage because...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 28–49.
Published: 01 September 1985
... is being put to death on the screens around him. In multi-screen installations such as these, montage is possible both on the axis of continuity-in the temporal sequence of the tape-and on the axis of contiguity, between images, as in A las cinco de la tarde where the same...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 37–77.
Published: 01 September 2001
... with this technique. Daisies’s surrealist motifs of montage and collage are epitomized in striking images of the heroines’ bodies splintered and recomposed. These formal strategies suggest an appropriation of surrealist tenets—incon- gruity and surprise, the denial of mimetic representation, and the revelatory...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 163–191.
Published: 01 May 2000
... invading neighbor- ing others, which come together through the filmic montage in a dialectical constellation depicting Iran’s irreducible hybridity. Modabber, who in an earlier scene could not respond to Hagh- Negar’s query about the status of the antique...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 60–71.
Published: 01 September 1983
... is that there is no logic to the film's construction of a point of view. The film continually switches voices between Chris and Lee, but by the montage and the overlapping of image and sound, the point of view that Keller holds as filmmaker is unclear. We can never be sure "whose side," if anyone's...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 95–105.
Published: 01 September 1988
... unnoticed details and inscribing them in a montage of effects-sus- pense, horror, eroticism (p.87). The close-up is for Bonitzer virtually what defines cinema's modernity: The close-up in effect plays a simultaneously terroristic and revolutionary role in the space of the cinema: revolutionary...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
... like licking a crowbar. I know then that my body, my real body, is somewhere else: bungee jumping into mine shafts stuffed with chocolate wafers and whipped cream and blueberry pie and just having a good time. You know?” Each of the other three frames is filled with a montage of images from...