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1
Journal Article
Camera Obscura (2004) 19 (3 (57)): 1–21.
Published: 01 December 2004
... in the cinema, psychoanalytic theory, television, and sexual and racial difference in film. Jonathan Rhys-Meyers as Brian Slade/Maxwell Demon in
Velvet Goldmine (UK/US, 1998). Courtesy Miramax
Pathos and Pathology:
The Cinema of Todd Haynes
Mary Ann Doane
Because infinity—for the eye—begins...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 129–157.
Published: 01 May 1995
...Catherine Russell Copyright © 1995 by Indiana University Press 1995
Hara Setsuko in End ofSummer (Ozu Yasujiro, 1961).
"Overcoming Modernity": Gender and the
Pathos of History in Japanese Film Melodrama
Catherine Russell
Although...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 41–59.
Published: 01 May 2021
...), but it became its own parallel film. In prioritizing this story and pushing it to feature length, Varda opened it up for imagining with and beyond Birkin. She made it a fairy-tale, a feminist story about what women may imagine and eroticize, about the grief, pathos, damage, and beauty in this. It became a vital...
FIGURES
Journal Article
Camera Obscura (1988) 6 (3 (18)): 52–66.
Published: 01 September 1988
... of pathos in melodrama and
its relation to the maternal. Chapter 4 considers the ways in which
the love story simultaneously represents, and recoils from, the active
desire of the female protagonist. Chapter 5, on the gothic, explores
the textual perturbations which ensue when...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
... the self-shattering of
masochistic, heteropathic (over)identification.26
Beginning with Mary Ann Doane’s treatment of overidenti-
fication as a pathos-driven negation of female sexual agency — most
famously encapsulated in her formula, “masochistic fantasy instead
of sexuality” — feminist...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 119–147.
Published: 01 September 2014
.... This ambivalence often appears to take the form of self-
denigration, but in the course of Freud’s essay, as Schiesari notes,
the melancholic becomes something of a heroic figure who speaks
unwelcome truths about humanity at large.
Following Schiesari, we might say that the pathos that per-
vades...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 158–160.
Published: 01 September 1995
...
Visual Politics. No. 36; pp. 49-66
160 Russell, Catherine
“Overcoming Modernity”: Gender and the Pathos of History in Japanese
Film Melodrama. No. 35; pp. 131-158.
Shelton, Marla
Whitney is Every Woman?: Cultural Politics and the Pop Star. No. 36; pp...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 110–125.
Published: 01 December 1984
... is not immediately rejected here
as an aestheticism that blocks out the somber obviousness of the end of
history and experience after Hegel. ‘ ‘What can be called the seriousness of
art,” Adorno adds, “without any musty idealism, is the pathos of objec-
tivity which presents...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 71–75.
Published: 01 May 1976
... and connective tissue between sequences. The subject-
ive, obsessive eye of the camera combined with the dry impersonal tone
ofthe narrationcreatesa constant flux oftension, absurdity, intense drama,
and pathos. This, Rainer's second feature-length film, reveals a growing
virtuosity in the use...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 4–7.
Published: 01 January 1990
... and affliction, and a dramaturgy
geared toward the creation of pathos. Melodrama in the American
cinema of the teens, however, was understood to entail sensational
effects, and a dynamic, often violent, resolution of narrative conflicts.
Examining the ties between the serials...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 1–33.
Published: 01 May 2003
... the loss of Leni to Nazi fanaticism. In conformity with the
generic conventions of the melodrama, the scene’s pathos is gen-
erated by the “rhetoric of the too late” or the temporality of the
missed encounter.44
But the scene is complicated by its definition in terms of
the closet...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 165–195.
Published: 01 September 2005
... the emotional vicissitudes of queer
pathos, but its operative value, that which assures and sustains its
continued vitality as a productive practice of queer cultural life, is
precisely the transcendence of those oppressive deformations, the
social exclusions and impossibilities, that occasion queer...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 197–227.
Published: 01 December 2001
..., joyously young, and sometimes, if one may
put it so, almost unbearably heartbreaking in its tender pathos—which
has become identified with her name, and with which we are all familiar.4
As in Tess, in Rags (dir. James Kirwood, 1915), Pickford was cast as
an adolescent spitfire living in poverty...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 142–147.
Published: 01 December 1989
... becomes
an affective rather than cognitive activity (voyeurism, in contrast, is
associated with an epistemological drive), and it is infused with the
negativity of longing and mourning. The films activate a pathos which
embraces and celebrates loss, reconciling...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 1–35.
Published: 01 December 2006
... woman suf-
frage as the necessary element for social progress. In the words of
a New York Tribune reporter, the film depicted suffrage “with lots
of love interest and pathos. The suffrage doctrine, in fact, is a very
small pill with a great deal of pink coating.”12 The bad taste...
Journal Article
Camera Obscura (2003) 18 (2 (53)): 57–91.
Published: 01 September 2003
... the event this inexhaustible and brilliant part which
goes beyond its own actualization.”2 Each critic in his own way
describes the relation between the film’s pathos and its stylization
by treating these as elements of an aesthetically and semantically
coherent whole that miraculously absolves...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 31–53.
Published: 01 May 2023
... separation from this world really means. The lyrics of Brown's song imbue the scene with heavy pathos, as Michèle gazes steadily at what, positioned out of frame and behind the camera, would likely be Danielle dancing with the boy. As Michèle holds her gaze outward, the camera lingers on her face in three...
FIGURES
Journal Article
Camera Obscura (1988) 6 (2 (17)): 133–154.
Published: 01 May 1988
... pathos often tips over into
sentimentality. (Those who prefer the first season of Peewee’s Play-
house to the second typically cite the latter’s increased moralism and 149
sentimentality.) John Waters has advanced this plea for acceptance by
reconceiving one of camp’s most dubious...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 219–226.
Published: 01 December 1989
...” or “racist.” Nuances around this position included
such stances as, “Carnal Knowledge reveals the bankruptcy of mas-
culinity,” or “Sounder once again plays off the pathos of poor blacks
as victims.” The first position was that of my feminist friends, the
second my own. In any case we were all...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 129–155.
Published: 01 May 2003
... a pathos and an
embedded desire, a quality of the private moment, of which cin-
ema is deprived, serviced as it usually is to narrative, that is to edit-
ing, and to other socially ideological meanings.8 Film has a differ-
ent relationship to time than photography, because it unravels in
time...
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