1-20 of 53 Search Results for

patri

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 33–59.
Published: 01 December 1982
...Constance Penley Copyright © 1982 by Camera Obscura 1982 Les Enfants de la Patrie Constance Pen ley But children . . . what do they want? Jean-Luc Godardl G. Bruno’s Le Tour de la France par Deux...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 124–160.
Published: 01 September 1993
... project, Gloria Patri, and Dedeaux’s 1992-1 993 installation, Soul Shadows: Urban Warrior Myths. l1 While Kelly departs from media representations of the Persian Gulf War, Dedeaux dialogues with video accounts of b-boy style and adolescent urban warfare. Of special...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 6–35.
Published: 01 December 1986
...” of an imaginable future for patri- archy (one which accepts paternity), he also has to give up his patriar- chal power, his “authority,” to his children, retaining only its illusion, its image (and that at their indulgence). Both the horror film and the family melodrama play out...
Journal Article
Camera Obscura (1992) 10 (3 (30)): 138.
Published: 01 May 1992
....” Mary Kelly is an artist and writer who lives in New York City. Her exhibition projects include Post-Partum Document ( 1973-79), also published by Rout- ledge, 1983, Interim (1984-89), and Gloria Patri (1992). She is Director of Studio at the Whitney Museum Independent Study Program. Marty...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 242–243.
Published: 01 December 1982
..., Constance Introduction to Metaphor/Metonymy or the Imaginary Kcferent. Vol. 3, no. 7; pp. 7-29. Pornography, Eroticism. Vol. 3, no. 8-9-10; pp. 13-18. Les Enfants de la Patrie, Vol. 3, no. 89-10; pp. 33-58. Kodowick, D. N. Codard and Silence. Vol. 3, no. 89-10; pp. 187-190...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 135–150.
Published: 01 May 1979
... point.2 And finally, in answering the ques- tion who speaks the patriarchal discourse, it is self-evident that patri- archy is spoken by both sexes. By the end of Christopher Strong, all major characters support this discourse...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 183–186.
Published: 01 December 1989
... identities under patriarchy, we run the risk of losing sight of the power of patriarchal representations and patri- archal interpretative strategies to construct male spectators out of all 185 of us . . .” (Waldman 1988, 88). Whether or not the concept “female spectator” continues...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 227–231.
Published: 01 May 1979
.... The process of growing up involves the growing away from the mother’s body and the subjection to the Law of the Father, bringing about a violent suppression of the mother’s emotional and libidinal investment in the child, an investment both encouraged and punished in patri- archal...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 175–178.
Published: 01 December 1989
... institutions 177 were complicit with the social formation in a powerful dominant ideology which was dependent for its economic and cultural continuity on the containment of women within patriarchal representations. Yet, the second stage also recognizes: (1) that the “dominance” of patri- archy...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 305–308.
Published: 01 December 1989
... of contemporary texts is extremely important, for many of the films deemed ccpost-modernist” in fact address this paradigm in ways that reinstate an entirely patri- archal mythology of sexual difference. Feminist theorization is fore- closed by both text and analytical method. Feminism is not simply...
Journal Article
Camera Obscura (1992) 10 (3 (30)): 51–56.
Published: 01 May 1992
...Mary Kelly Mary Kelly Gloria Patri Ignoring the trail, he’d followed a tributary to the river. Sharp currents gouged their course through ferruginous clay, spalling iron ore...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 323–327.
Published: 01 December 1989
... of patri- archal power depicted on the show’s framing material are played off against the hyperbolized rendering of the body within the domestic space of the sit-com narrative. This strategy positions male dominance as self-inflating and anomalous. Another essay...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 136–143.
Published: 01 May 1981
... was attention to a theory of the subject; the panel “DO Women See a Different Film,” which seemed to suggest such an inquiry into a theory of “sexually-differentiated” perception in patri- archy, instead asserted the fact of a different perception. The socio- logical approach which characterized many...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 73–89.
Published: 01 January 1990
... cinema. Just as in the Tonbifd,the cinema of attraction had acquiesced to bourgeois culture through references to traditional art, in narrative cinema, melodrama acquiesced to patri- archal forms of culture. A hybrid form even before it insinuated itself into the cinema, melodrama abandoned...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 43–75.
Published: 01 May 2007
... must be understood in patri- archal terms: “For Hawks, there is only the male and the non-male: in order to be accepted into the male universe, the woman must become a man; alternatively she becomes woman-as-phallus. . . . [Woman] is a traumatic presence which must be negated.”9 Through 52...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 115–121.
Published: 01 September 1977
... of various characters, The logic of the organization of shots reverts to the camera and its marked controller, a feminist filmmaker. There is a split here between character and director, two discourses, two modes of the feminine: the feminine manquee, acculturated under patri- archy, and the feminist...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 219–226.
Published: 01 December 1989
... of analysis from that of the Frankfurt school, criticism deriving from the psy- choanalytic work of Jacques Lacan also over and over again finds a specific work, or film, or television in general, overwhelmingly patri- archal and enforcing white, bourgeois hegemony...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
... this framework — including Kasi Lemmons’s Eve’s Bayou (US, Karyn Kusama’s Girl ght (US, and Patri- cia Cardoso’s Real Women Have Curves (US, With Gilmore’s departure from Sundance in a tightly knit programming team (including longtime advocates for women’s cinema, Shari Fri- lot and Caroline Libresco...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 21–31.
Published: 01 May 1979
..., the discourse of the woman fails to triumph over- the male discourse and the patri- archal ideology, but its very survival in the form of irony is in itself a kind of triumph, a victory against being expelled or erased: the con- tinued insistence of the woman’s discourse...
Journal Article
Camera Obscura (2004) 19 (1 (55)): 43–75.
Published: 01 May 2004
... a male-breadwinner model, a patriarchal model of family dynamics assuming that fathers should work full-time while mothers stayed at home full- time in order to raise the children. The ideology of full-time motherhood was attached, in the public’s mind, to private patri- archy through marriage...