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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 (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...
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 (2021) 36 (3 (108)): 105–117.
Published: 01 December 2021
... affirms past queer lives, celebrating and highlighting rebelliousness, agency, creativity, queer kinship, and passion. Additionally, Hammer attempts to communicate with and embody the past, physically and emotionally seeking out and feeling the interior and exterior lives of her biographical subjects, who...
FIGURES
Journal Article
Camera Obscura (2012) 27 (2 (80)): 145–153.
Published: 01 September 2012
... with the 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...
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 (2018) 33 (2 (98)): 197–207.
Published: 01 September 2018
..., the live amateur eyewitness, and first-person conventions of “coming to voice.” Story takes up Rangan’s question, “What do immediations do ?” in relation to the tropes of the prison documentary genre, which she attempts to move past in her film The Prison in Twelve Landscapes (US, 2016). Story argues...
Journal Article
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. Copyright © 2019 Camera Obscura 2019 melodrama Chantal Akerman...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
... we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 149–175.
Published: 01 May 2022
... of these multiple provisional pasts, presents, and futures. The article points toward the way that narrative and theories of collective storytelling can be used as frameworks for understanding social media platforms. amecklen@umich.edu Copyright © 2022 by Camera Obscura Published by Duke University Press...
FIGURES
Journal Article
Camera Obscura (2022) 37 (2 (110)): 119–147.
Published: 01 September 2022
..., the Berlin setting of the series, as a historically fraught context that likewise raises questions about intentionality and the role of Germany's past and present. The visual element of emphatic and often public sartorial abandonment is key. A personal scene of shedding the sheitel can also be found...
FIGURES
Journal Article
Camera Obscura (2016) 31 (3 (93)): 141–151.
Published: 01 December 2016
...Jihoon Kim This article examines a series of video works by Okin Collective, a group of three Korean artists (Jin Shiu, Kim Hwayong, and Yi Joungmin) who have over the past few years been productively concerned with an array of political, social, and cultural issues from both local and global...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 165–175.
Published: 01 December 2016
... audiences with a contemporary vision of queer feminism that embraces a multitude of gender expressions. This approach can be understood in the context of the cultural changes to lesbian and queer communities over the past twenty years, shaped by the growing visibility and inclusion of transgender politics...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... 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 Smaill is a senior...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... that 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
... the 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...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
...John Belton This essay looks at the relationship between the two narrative registers of Max Ophüls's Lola Montès (France, 1955)—the staging of circus attractions in the present and the repeated flashbacks to the past—in terms of the way in which the circus exploits Lola's associations...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
... themselves in the form of spatial hauntings in such narratives, they can be said to resemble the workings of trauma whereby deeply disturbing past experiences continually disrupt the present. This essay argues that the Paranormal Activity film franchise (US, 2007–12) is animated less by the hermeneutics...
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...