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Journal Article
Camera Obscura (1995) 12 (2 (35)): 158–184.
Published: 01 May 1995
...Amanda Howell Figure 1. Colleen comforts Hue San (China Beach, "Independence Day" 25 October 1989). Reproducing the Past: Popular History and Family Melodrama on China Beach Amanda Howell Having...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 161–179.
Published: 01 May 1997
...Pat Gill Technostalgia: Making the Future Past Perfect Pat Gill In Postmodernism, or the Cultural Logic of Late Capitalism, Fredric Jameson argues that in the postmodern age nostalgia has replaced history as the way of understanding and responding to our personal and...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
...The Camera Obscura collective Camera Obscura 2006 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. A R C H I V E F O R T H E F U T U R E Camera Obscura at Thirty: Archiving the Past...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
..., viewers are awakened to the unfortunate history of Japanese colonialism and thus experience a feeling of regret or melancholy for the past. This cinematic encounter with the past also resonates with cultural imagery of Seoul as a forgotten colonial city that has reemerged across Korean society, especially...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 145–153.
Published: 01 September 2012
... Israeli consulate's marketing campaign “Brand Israel” in the presentation of a city-to-city spotlight on Tel Aviv cinema (known as the Tel Aviv Spotlight); and the 2010 Pride Awards Give-Back, in which twenty-two recipients of various Pride Toronto awards from the past ten years gave back their awards in...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
... Alexanderplatz. Ultimately these figures make up one vast composite character, a combinatory form that echoes the superimposed photographs from the Weimar era that appear in the miniseries's credit sequence. Both the credit sequence and the serial women offer ways of representing Germany's past as a variegated...
Journal Article
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...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
... billion images in the past four years alone. The writings of media theorist Mark Hansen offer a provocative starting point to explore how a desire for racial neutrality can lead to the unintentional repression of important forms of cultural difference. Two models of ethics, grounded in the writings of...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 1–37.
Published: 01 May 2011
... capitalism organized around the belief in the successful democratization of consumer markets and media. Thanks to liberalization policies and technological innovations in the past twenty years or so, more people than ever before can access the resources and rights associated with these institutions. Such...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... memory that originates from the future—one that remembers not only what happened but also what did not happen in our cinematic past (and yet might have, under different conditions), what “will have happened” by virtue of these archival interventions: a memory of, and in, the future anterior. As it draws...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 63–93.
Published: 01 December 2011
... a fundamental shift in the older conception of the performance artwork as a unique event. The article explores the way in which both reperformance and pornography are characterized by a mode of reception in which a document of a past performance becomes the occasion for the creation of new affect in...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
...Elena Gorfinkel American sexploitation cinema of the 1960s and early 1970s has gained a second life in the past two decades through a boom in video and DVD distribution and rerelease, and consequently a new, generationally distinct audience. This article proposes that what appeals to cult audiences...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
..., serves silent films as a medium that links the films of the past with the present moment. Using Orochi (dir. Buntaro Futagawa, Japan, 1925) as an example, Sawato reveals that she personally disagrees with the male-centered values expressed in the film and finds the binary oppositions of good and evil too...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
... both a past and a future imbued with fantasies of love and being loved in return. Figure 1. Cover image from the 2009 Ao Trang  calendar. Photograph courtesy of Hoai Nam Diasporic Erotic: Love, Loss, and the Copy Mimi Thi Nguyen Is not the most erotic portion of a body where the garment...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
... into alignment. What this essay explores is a certain perversion of these forms of temporal matching — or what I am calling queer sound tracks: image-sound relations unfixed in ways that are not only dynamic aesthetically but that also evoke an affective, diachronic bond to the past. What is heard...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 103–123.
Published: 01 December 2013
... the author's relationship to him, and instead insists on piecing together the past from a variety of angles. This article focuses on how the queer qualities of contingency and partiality that Fun Home produces around sexuality and the Bechdel family's history is an effect of the author's use of the...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
...-reaching shift wherein the goings-on of the dance floor began to influence screen culture to a greater degree than in the past, and choreography itself assumed a more emphatic presence in film's musical lexicon. In Chang's performances, we discover a seismograph of the process by which dance is recoded in...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... ways that critique the masculine underpinnings of art cinema. Central to this reading of Bier's director image and her films are the increasingly transnational dimensions of women's film practice and the broader decentering of paradigms of national cinema over the past two decades. Belinda...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... inflect popular culture in postcommunist Eastern Europe. Germanika's work casts light on the contemporary terrain of Russian filmmaking and its relationship to the site occupied by Russian youth, who find themselves caught between the communist past and the yet-to-come postcommunist future. This article...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
... filmmaking process and the filming subjects, demonstrating self-reflexive performativity more than transparent authenticity. It is such performativity that mediates between the past and the present, between the individual and the collective. As a participatory performance of filmmaking, the Folk Memory...