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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 64–87.
Published: 01 September 1990
...Ann Banfield Copyright © 1991 by The Johns Hopkins University Press 1990 La Table servie [Set Table] (Niciphore Niipce, ca. 1826) L‘Imparfait de l’objectif: the Imperfect of the Object Glass Ann Banfield The real, when it has reached the mind, is already...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2003) 18 (3 (54)): 71–97.
Published: 01 December 2003
... Object: Realizing the Feminist Collaborative Video Alexandra Juhasz No woman is filmed as an object; everyone is a subject who combines and presents physical, emotional, intellectual, and political selves. —Julia Lesage, “The Political Aesthetics of the Feminist Documentary Film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 111–135.
Published: 01 December 2008
... Treats Objects Like Women Two Types of Fetishism in The Big Lebowski Brian Wall It is the hardest thing in the world to be a materialist. In theory, that is — as a theorist. Even though thought seems irreducible in its linguistic and even imagistic materiality, nonetheless, in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
... contracts to repeat and return to the object of desire. In arguing that the ao dai (long dress) photograph as a copy-image of a lost or disappearing referent is central to a contemporary diasporic erotic — a feeling-state of disrupted history rendered (and recovered) in mythical terms through love and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 61–91.
Published: 01 September 2016
... voiceless—or underrepresented—persons or things. This article contends that the material practice of ventriloquism has more to offer to documentary cinema than a convenient (and typically negative) metaphor for the deceptive synchrony of sound and image or the embattled relation between subject and object...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 119–147.
Published: 01 September 2014
... classic romantic comedy Sleepless in Seattle (dir. Nora Ephron, US, 1993), this article suggests that in fact romantic comedy may itself be considered a melancholy genre. Insofar as the heterosexual coupling that typically ends romantic comedies forecloses same-sex desire, the foreclosed objects exist, in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... camera movement. Magnification of ordinary percepts, or a general and unpleasant accenting of objects in the visual field, is a common complaint in the phenomenology of mental illness, for example, in hysteria, obsession, phobia, and paranoia. An illness removes something from its ordinary context and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
... authentic “work in progress” with the superficial “finished product” that is the diva. Through a process of the melodramatic emergence of character, Crowe becomes a star who is always “finding himself,” avoiding the narcissism of a to-be-revered divalike object of worship. His emergence is traceable to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 65–91.
Published: 01 May 2016
... a return to its former unmediated status. By contrast, Her moves beyond the notion of prosthesis, bringing into focus human-machine intimacies wherein the human serves as host or a surrogate womb to the emerging technological object. In Her , technology is seen as an immaterial parasite while human...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... Girls is a study in the classic psychoanalytic account of abjection, often depicting its protagonist as a dehumanized object full of disappointed drives, The Misadventures of Awkward Black Girl humorously blends the historical weight of black abjection with other kinds of abjection, so that the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 167–173.
Published: 01 September 2016
... world. The undetectable, like the monad, is both object and process, unfolding on a field of vision. Nathan Lee is a critic, curator, and PhD student in the Department of Modern Culture and Media at Brown University. A former film critic for the New York Times and Village Voice , he is a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 175–185.
Published: 01 September 2016
... opacity shifts discussions of seeing and knowing toward situatedness, partiality, and the limits of the Western gaze; this section draws on Donna Haraway's interventions into debates about objectivity and Chandra Talpade Mohanty's critique of the colonial gaze in some Western feminist scholarship. The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2013) 28 (2 (83)): 177–189.
Published: 01 September 2013
...Huey Copeland Over the last two decades, American artist Zoe Leonard (b. 1961) has emerged as one of the most visually attuned photographers of her generation, using images as a means of documentation, invention, remembrance, and critique. Regardless of the sites and objects on which she trains her...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2018) 33 (2 (98)): 41–67.
Published: 01 September 2018
... Said, and Stanley Cavell, this essay proposes that these films pessimistically comment on the changing phenomenology of our cultural relationship to our minds and bodies, fantastically depicting them not only as commodifiable but as made out of lifeless, object-like entities in the first place. This...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2018) 33 (2 (98)): 105–137.
Published: 01 September 2018
... Edison’s dolls, IRENE to Apple’s Siri, it argues that media archaeology should have as one of its essential conditions feminist critique. Media archaeology would do well not to repress this critique, considering the no less gendered fantasy of a neutral thinking of objects stripped of desire, a fantasy...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... of “cover” and “lack” that traverse and structure diverse fields of inquiry from psychoanalysis to architectural theory to dance history to film criticism, this paper argues that there is a profound nostalgia, rather than refutation, between the clean nudity of modern objects and the ornate nakedness...
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 2009) 24 (1 (70)): 177–207.
Published: 01 May 2009
...Beth Coleman Is it possible to think of race as a disinterested object of our delight, as opposed to one that is overinscribed? Can race survive as something other than the remnant of a traumatic history? In this essay, I ask the reader to consider race as technology. This proposition moves race...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
... constraints we discuss in our essays. Rather than seeing those complex negotiations as a drawback, we suggest that these very tensions have created this culturally rich form. It is this complexity that makes vidding an enticing object for academic analysis, but even more so an important aesthetic and...