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Camera Obscura (2009) 24 (2 (71)): 107–137.
Published: 01 September 2009
... of Liberating Shahrazad: Feminism, Postcolonialism, and Islam (University of Minnesota Press, 2007) and is currently at work on a book about gender and genre in North African film. Bahia in Nadia’s room, A Door to the Sky, (dir. Farida Benlyazid, Morrocco, 1988) Now You See It, Now You Don’t...
Camera Obscura (2019) 34 (1 (100)): 67–73.
Published: 01 May 2019
...Babette Mangolte This essay describes the last work by Chantal Akerman, an installation titled NOW made between January and March 2015 for the 2015 Venice Biennale. The author interrogates an installation work that is not linear and that changes while looking at it, producing thoughts as much...
Camera Obscura (1981) 3 (1 (7)): 88–109.
Published: 01 May 1981
...Lea Jacobs © 1981 by Camera Obscura 1981 Now Voyager: Some Problems of Enunciation and Sexual Difference Lea Jacobs The representation of sexual difference in the Hollywood cinema has been described as a double movement in which woman functions as a term of difference...
Camera Obscura (1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
...Bridget R. Cooks The Liberation of Aunt Jemima by Betye Saar, 1971. Mixed media assemblage box. Courtesy of the artist. See Me Now Bridget R. Cooks Betye Saar’s The Liberation of Aunt Jemima (1972) uses the familiar spectacle...
Camera Obscura (2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
... that, with the proliferation of reality shows, we now have a taste hierarchy within reality TV. The Bravo cable channel in the US—now called Bravo Media as it expands to multiple platforms—has pioneered the high-end reality series, working within two genres (whose names I borrow from the New York Times Magazine ): competition...
Camera Obscura (2012) 27 (2 (80)): 155–160.
Published: 01 September 2012
... and homosexual desire, I espouse a narrative about the dualities of representing Palestinian queerness. I argue that the very nature of Palestinian daily life is queer. That is, if we utilize the word in the now anachronistic adjectival sense whereby the word queer describes a sense of strange(ness) or even...
Camera Obscura (2019) 34 (1 (100)): 113–137.
Published: 01 May 2019
...Brenda Longfellow Chantal Akerman’s last film, No Home Movie (Belgium/ France, 2015), a film that is now impossibly freighted with the news of her suicide, provides a poignant reflection on many of the themes and formal strategies that Akerman has employed throughout her storied career. Shot...
Camera Obscura (2019) 34 (1 (100)): 13–29.
Published: 01 May 2019
... together, from shooting the stage performance of Letters Home in 1986 to the process of combining images and sounds in Akerman’s final works, the film No Home Movie (France/Belgium) and the multichannel installation piece Now , both 2015. Works mentioned include D’Est ( From the East , France/Belgium, 1993...
Camera Obscura (2019) 34 (1 (100)): 185–195.
Published: 01 May 2019
...; Ambika P3, who presented a major exhibition, Chantal Akerman: NOW (2015); the conference “After Chantal” organized by the Centre for Research and Education in Arts and Media at the University of Westminster in 2016; and the upcoming publication dedicated to Akerman by the Moving Image Review and Art...
Camera Obscura (2019) 34 (2): 133–161.
Published: 01 September 2019
... on a collective problem of how we negotiate a proper proximity to cherished others. All three films turn from what could have been to what the past makes possible now and thus change melodrama from a melancholic genre to a generative one. melodrama Chantal Akerman Claire Denis Ann Hui narrative fantasy...
Camera Obscura (2019) 34 (3): 97–125.
Published: 01 December 2019
..., the established couple survives—and may even be strengthened by—the sexual, spatial, and professional infidelity that forms the central plot of the film. No longer disavowed, the ambivalence that has marked the couple’s formation from the outset is now under-stood to be fundamental to their ongoing attachment...
Camera Obscura (2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
... social responsibilities obligate him to behave as he does. As a result, Crowe's pathological acting out now signals a greater authenticity, as well as his dedication to improving the quality of his work and his life. Camera Obscura 2008 Michael DeAngelis is an associate professor at DePaul...
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
...Zoë Druick In her digital video work Mass Ornament (2009), the Testament series (2009), and Now He's Out in Public and Everyone Can See (2012), US artist Natalie Bookchin gathers clips from video blogs in which people perform dances and discuss personal and political issues, from sexuality...
Camera Obscura (2008) 23 (3 (69)): 159–191.
Published: 01 December 2008
... questions of desire and identification: (1) it displaces same-sex desire into the past (I used to desire Hercules, but now I identify with him); (2) identification is displaced from its proper target (the skinny and helpless adolescent sidekick) to a much more flattering one (Hercules); (3) the peplum...
Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
...Kriss Ravetto-Biagioli Alfred Hitchcock's Vertigo is one of the most acclaimed films of all times, recognized by scores of critics, film theorists, and film historians as a pivotal work in both film history and film theory. By now, Vertigo is so deeply embedded in film theory that it is almost...
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...
Camera Obscura (2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
... Film Festival, this article gestures to a waxing movement of independent filmmaking that is steadily eroding the hegemony of mainstream film culture. Films discussed include Ava DuVernay's Middle of Nowhere and Nadine Labaki's Where Do We Go Now? Significant shifts in the field of independent film...
Camera Obscura (2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
...Alexander R. Galloway Rey Chow, in her book The Age of the World Target , identifies a rise in self-referentiality across a number of domains of contemporary life. Fueled by Martin Heidegger's writings on “the world picture,” Chow asserts that “understanding … is now an act inseparable from the act...
Camera Obscura (2014) 29 (2 (86)): 85–117.
Published: 01 September 2014
... comedienne performers — most of whom have now dropped out of historical visibility entirely. I frame this comparative analysis through close readings of two key texts: a Vitagraph trick film, Princess Nicotine; or, The Smoke Fairy (dir. J. Stuart Blackton, 1909), which depicts the surrealistic plight...
Camera Obscura (1990) 8 (3 (24)): 64–87.
Published: 01 September 1990
.... Language contains a specific category of reference whose referent is always a sensation: deixis, in particular, the demonstrative pronouns or adjectives -this, that, these, those, here, deictic there, now -those terms which can be said to point to something in a sensible field. The presence...