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noir space

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 76–101.
Published: 01 May 1994
... of “opening” onto the world that she also embraces. 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 117–147.
Published: 01 December 2014
...). It also presages late 1950s pic- tures such as I Married a Monster from Outer Space (dir. Gene Fowler Jr., US, 1958), which marries two genres that, like gangster noir, were especially conducive to anticommunist rhetoric: horror and science fiction.29 The original, lurid title of The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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 in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 243–274.
Published: 01 May 1997
...Tabitha Goode Copyright © 1996 by Indiana University Press 1997 Camosaur 2 (Louis Morneau, 1995) Roswell-The Footage: Alien Autopsy (1995). Abstract Representational Space: Uncanny Aliens and Others (Pandora, or Prometheus’s Return) Tabitha Goode...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 42–75.
Published: 01 May 1994
...Eithne Johnson Copyright © 1994 by Indiana University Press 1994 Theresa Saldana in Confessions of Crime. Lifetime’s Feminine Psychographic Space and the “Mystery Loves Company” Series Eitbne Johnson Since its debut in 1984, Lifetime Television has been carving a niche in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
...Seth Watter This article examines the simultaneous gendering and pathologization of screen space in two films directed by Anatole Litvak, The Snake Pit and Sorry, Wrong Number (US, 1948), released within months of each other. It focuses on two formal phenomena: the morbid close-up and the curlicue...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
... to which gameplay can exist independent of playable protagonists, and the gendering of video-game goals and objectives are considered. Despite conforming to certain masculine activities—fighting, collecting weaponry, exploring and dominating space— Silent Hill complicates such aspects through the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 157–191.
Published: 01 May 2012
... dancer, María Antonia integrates performance and music (as well as the urban social spaces in which they are presented) as central cinematic devices to expose and protest against social injustices particular to the Caribbean and the Americas. Nadia Sophia Sanko received a PhD in Hispanic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2005) 20 (1 (58)): 185–207.
Published: 01 May 2005
... noir, Velvet Dreams imports the critical value of this distinctive postwar film genre into contemporary debates about Pacific Island identities and popular culture. By adopting an ironic stance visvis film noir and deploying its attendant anxieties about feminism, masculinity, social change, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 137–145.
Published: 01 September 1988
... cultural criticism (of which his discussion of wartime cinema forms the paradigm), and a critical valorization of ambiguity in Hol• lywood cinema from 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... spaces dramatized in this era.2 In fact, both kinds of film frequently used nature as an important setting, presenting outdoor landscapes as another kind of foil for the modern cityscape. Many noirs take place neither in the city nor in the suburbs, but in rural or wilderness locations: Out of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 132–137.
Published: 01 December 1989
... controlling gaze of the hero in the same 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 158–160.
Published: 01 September 1995
... Lifetime’s Feminine Psychographic Space and the “Mystery Loves Com- pany” Series. No. 33-34; pp. 43-76. MacDonald, Scott Interview with Sally Potter. No. 35; pp.187-221. MacDonald, Scott Interview with Cauleen Smith. No. 36; pp. 119-134 McPherson, Tara Disregarding Romance and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 332–335.
Published: 01 December 1989
... active-sadistic-voyeuristic male 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2001) 16 (2 (47)): 133–175.
Published: 01 September 2001
... critique draws largely on André Bazin, who calls for a remake that would “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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... identify any specific body, the body that produced 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 296–320.
Published: 01 September 1991
... 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 and the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 195–225.
Published: 01 December 2001
... ignited 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
... to produce a flat fantasy space in which it is difficult — and manifestly difficult — for the diegetic characters, and spectators, to find their place. Significantly, however, in Roy’s concluding testimony the film also offers a redemptive moment in which the Symbolic makes a...