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Journal Article
Camera Obscura (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 (2003) 18 (3 (54)): 71–97.
Published: 01 December 2003
... Is an 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 (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
Journal Article
Camera Obscura (2008) 23 (3 (69)): 111–135.
Published: 01 December 2008
... and theorist. Camera Obscura 2008 Brian Wall is an assistant professor of cinema at Binghamton University, State University of New York. He is currently working on a manuscript exploring Theodor Adorno's conceptions of spirit in relation to cinema. “Jackie Treehorn Treats Objects Like Women...
Journal Article
Camera Obscura (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...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 61–91.
Published: 01 September 2016
... to 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 (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...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 119–147.
Published: 01 September 2014
... the 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...
Journal Article
Camera Obscura (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 of so...
Journal Article
Camera Obscura (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 game...
Journal Article
Camera Obscura (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 (2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
... 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 political...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 131–138.
Published: 01 September 2011
..., and communitarian 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...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 139–146.
Published: 01 September 2011
..., and communitarian 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...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... of her own spectatorship of the sexploitation cinema represents a way of imagining female spectatorship as a form of cinephile wandering through the historical frame — and through a cathexis on the world of forgotten bodies and discarded objects, both material and cinematic. © 2011 by Camera Obscura...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 77–107.
Published: 01 September 2013
.... In adoption, various vectors of familial and racial ideology meet: affirmative adoption narratives propose a family structure that does not insist on limited, and limiting, roles for women. To that end, I ask how a nonpathological depiction of adoption, in which the biological mother is not an object of scorn...
Journal Article
Camera Obscura (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 (2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
... as an 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...
Journal Article
Camera Obscura (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 (2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... 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 abjection its protagonist uses...