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Journal Article
Kyung-Sung: Cinematic Memories of the Colonial Past in Contemporary Korea
Available to Purchase
Camera Obscura (2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
... 2015 by Camera Obscura 2015 Korean modernity colonial memory urban memory noir space forgotten future Figure 1. CGI reconstruction of Kyung-Sung in the 1930s in
Modern Boy (dir. Ji-woo Jeong, South Korea, 2008)
Kyung-Sung: Cinematic Memories
of the Colonial Past...
Journal Article
Brushing Classical Hollywood Narrative Against the Grain of History
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Camera Obscura (1988) 6 (3 (18)): 137–145.
Published: 01 September 1988
... the perspective of aesthetic modernism (for which
film noir provides the model). At the same time, it opens up, in the
terms of this sliding, the space of a theoretical and critical re-evaluation
of Hollywoodcinema which transcends the framework of either critical
approach. It suggests a medium which already...
Journal Article
Veronica Clare and the New Film Noir Heroine
Available to Purchase
Camera Obscura (1994) 11-12 (3-1 (33-34)): 76–101.
Published: 01 May 1994
....
This opening, Veronica’s acceptance of the “other” and the female
detective’s invasion of formerly male spaces, offers the allure of critical
insight into the sexism and racism of the noir mode. The impulse for
social change rests momentarily upon the possibility for a feminist,
unifying vision...
Journal Article
The Red and the Black: Gender, Genre, and the Romance of (Anti)Communism in The Woman on Pier 13
Available to Purchase
Camera Obscura (2014) 29 (3 (87)): 117–147.
Published: 01 December 2014
...Robert Miklitsch This article employs Robert Stevenson's The Woman on Pier 13 (US, 1950) as a privileged example of anticommunist film noir in order to explore the received left critique of the ideological and aesthetic properties of this subgenre — what one might call the unhappy marriage of film...
Journal Article
The Front Lawn of Heaven: Landscape in Hollywood Melodrama circa 1945
Available to Purchase
Camera Obscura (2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... of Americans in the age of white flight.”1
While it is certainly true that film noirs are typically set in
the city and that post – World War II American melodramas often
stage conflict in the suburbs, it is also obvious that the city and
the suburbs were not the only spaces dramatized in this era...
Journal Article
Darkness and Light: Dusky Maidens and Velvet Dreams
Available to Purchase
Camera Obscura (2005) 20 (1 (58)): 185–207.
Published: 01 May 2005
... and as technically good as any Gauguin.”9 How-
ever, in addition to its agenda about art history, Velvet Dreams also
addresses vexed issues of race, representation, and sexuality in the
Pacific. By mimicking and in effect hijacking stylistic and narra-
tive elements of film noir, Velvet Dreams imports...
Journal Article
Barbara Creed
Available to Purchase
Camera Obscura (1989) 7 (2-3 (20-21)): 132–137.
Published: 01 December 1989
... way that the heroine was subjected. I concluded that one of the
key filmic codes at work in film noir was a “genderization of space”;
the feminized figure (whether woman, homosexual or other) occupied
the center middle-ground of the frame while the masculinized figure...
Journal Article
Erasure: Alienation, Paranoia, and the Loss of Memory in The X-Files
Available to Purchase
Camera Obscura (2001) 15 (3 (45)): 195–225.
Published: 01 December 2001
... unexpected fervor with The X-Files (which debuted in
1993) and its stories of externally perceived aliens invading from
outer space. A film noir, paranoid detective scenario centered on
reports of UFO sightings and paranormal events, the program
garnered...
Journal Article
“She Was Bad News”: Male Paranoia and the Contemporary New Woman
Available to Purchase
Camera Obscura (1991) 9 (1-2 (25-26)): 296–320.
Published: 01 September 1991
... that narrativize the rise and fall of career
women in contemporary American life and work to punish these de-
viant women or reinscribe them within traditional familial structures.
In this sense these films draw on narrative and enunciative conventions
from the classic film genres of film noir...
Journal Article
In the Shadow
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Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... the shadow is not present in the same diegetic
space as the crowd, and the shadow provides a place of suspension,
a placeholder for the viewer in the image and therefore a meet-
ing point between seer, seen, and scene.2 As a trace of the body’s
elsewhere, the shadow equally marks the body’s projection...
Journal Article
The Leftovers of Conspiracy: The Deformed Gazes of Under the Silver Lake
Available to Purchase
Camera Obscura (2025) 40 (1 (118)): 118–145.
Published: 01 May 2025
... of film's original silence, the space comes to embody the more abhorrent silence of those determined to see something in it beyond the sin made plain in its immediate reflections. If, as film historian Eric Avila notes, the classical film noir showed us the “modern industrial city” only to “emphasiz[e...
FIGURES
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Journal Article
Can “We All” Get Along? Social Difference, the Future, and Strange Days
Available to Purchase
Camera Obscura (2002) 17 (2 (50)): 155–189.
Published: 01 September 2002
..., and
thematic elements found within the film. The theme of techno-
logical mediation within the sequence is linked to the two major
genres that Bigelow mobilizes, film noir and apocalyptic science
fiction, an association that provides viewers a certain amount of
generic familiarity. Within this conventional...
Journal Article
A Pygmalion Tale Retold: Remaking La Femme Nikita
Available to Purchase
Camera Obscura (2001) 16 (2 (47)): 133–175.
Published: 01 September 2001
... “start over at the ‘source,’ and follow a
natural course in a new historical and social space.”23 The remake
must allow for changes motivated by cultural and historical differ-
ences between it and the original text, while not denying the
basic integrity of the original source.
Howver, as we...
Journal Article
Affects of the Gaze: Post-Oedipal Desire and the Traversal of Fantasy in Blade Runner
Available to Purchase
Camera Obscura (2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
... — ruptured — today this lack is directly assumed.”11
Blade Runner presents the consequences of a failed Symbolic, of
the lack of trust. This is achieved, aesthetically, by the descent of
the Gaze into the field of the visible, the effect/affect of which is to
produce a flat fantasy space in which...
Journal Article
Linda Williams
Available to Purchase
Camera Obscura (1989) 7 (2-3 (20-21)): 332–335.
Published: 01 December 1989
... and the pas-
sive-masochistic-fetishized female. Originally my goal was simply to
forge a little space for female resistance by opposing the active/passive
definition of this dichotomy. I wanted to account for what I felt had
been occluded by a theory that otherwise seemed able to explain so
much...
Journal Article
Gilda: Epistemology as Striptease
Available to Purchase
Camera Obscura (1983) 4 (2 (11)): 6–27.
Published: 01 September 1983
... in the film it is
paralleled by the shot which introduces Gilda herself. Only this time the
movement is Gilda's. A shot in which Ballen/George Macready asks his
new wife, "Are you decent?" is immediately followed by an empty frame
whose function is simply the establishment and holding of a space.
Gilda...
Journal Article
Close-Ups and Curlicues: Female Neurosis in Two Films by Anatole Litvak
Available to Purchase
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
....
48. Schivelbusch, Railway Journey, 48. Television would go on to
play this role in the later noir cycle of the 1950s; see Edward
Dimendberg, Film Noir and the Spaces of Modernity (Cambridge,
MA: Harvard University Press, 2004), 241 – 48.
Female Neurosis...
Journal Article
Time Travel, Primal Scene, and the Critical Dystopia
Available to Purchase
Camera Obscura (1986) 5 (3 (15)): 66–85.
Published: 01 December 1986
... be
seen in relation to a set of cultural and psychical conflicts, anxieties and
fantasies that are all at work in this film in a particularly insistent way.
Tech Noir
What are the elements, then, of The Terminator’s critical dystopian vi-
sion? Although the film is thought...
Journal Article
Back to the Future
Available to Purchase
Camera Obscura (1991) 9 (3 (27)): 108–132.
Published: 01 September 1991
...Kaja Silverman Copyright © 1992 by The Johns Hopkins University Press 1991
Back to the Future
Kuju Silverman
Ridley Scott’s Blade Runner (1982) represents a curious generic amal-
gam; simultaneously science fiction and film noir, it points both for-
ward and backward in time.l...
Journal Article
Joan Crawford's Padded Shoulders: Female Masculinity in Mildred Pierce
Available to Purchase
Camera Obscura (2006) 21 (2 (62)): 1–31.
Published: 01 September 2006
... entering the film’s narrative space by
distracting them from the plot; it might also conflict with the
film’s treatment of Mildred, which, as we will see, differed signifi-
cantly from the novel’s. Crawford’s padded shoulders had helped
to consolidate her image as a fiercely ambitious, hardworking...
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