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Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 3–27.
Published: 01 September 1985
... of the soul, this claustral atmosphere of the Kammerspiele, which today we find so stifling. Lotte Eisner. The Haanted Screen’ Over the cramped, intimate space of Rainer Werner Fassbinder’s The Bitter Tears of Petra uon Kant reigns a large, dark reproduction...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 3–5.
Published: 01 December 1980
... of a program of cultural exchange between the cities of Los Angeles and West Berlin, a number of filmmakers from West Berlin wrll be in Los Angeles in Novem- ber: Jutta Brueckner, Petra Haffner, Angelika Kittelhack, Elfie Mikisch, Ulrike Ottinger, Cristina Perincioli, Helge Reidemeister...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 132–145.
Published: 01 September 1983
... no longer programs only women's films for women. In the United States there have been some encouraging developments regarding the availability of German women's films. In the fall of1980, a group of filmmakers participated in the Berlin-Los Angeles exchange (Petra Haffter, Angelika Kettelhack...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
...- poses are the earnest, nuanced, and cogent scholarly explorations of Chytilová’s work from informed gender studies perspectives by Dina Iordanova, Petra Hanáková, and others. A new generation of feminist film critics and scholars addressing east-­central Euro- pean cinema has come of age...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 89–103.
Published: 01 December 2021
... in Guatemala” (MA thesis, San Francisco State University, 2018); Pamela Hearne, “The Silent Language of Guatemalan Textiles,” Archaeology 38, no. 4 (1985): 54–57; or Petra Godesa, “The Indigenous Weaving Queens of Guatemala,” Unearth Women: Celebrating Travel and Women's Stories , 13 August 2018...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 147–182.
Published: 01 May 2006
...] in The Merchant of Four Seasons [Der Händler der vier Jahreszeiten, 1971], Gabriele von Kant [Eva Mattes] in The Bitter Tears of Petra von Kant [Die Bitteren Tränen der Petra von Kant, 1972], or Marie [Ulrike Vigo], the out-of-wed- lock daughter of Lola in Lola [Lola, 1981], in the films by Rainer Werner...
Journal Article
Camera Obscura (2019) 34 (3): 97–125.
Published: 01 December 2019
... at the heart of all attachment, whether it takes a socially normative form or not. The film that inaugurates Cholodenko s attachment trilogy 100 Camera Obscura is already a repetition insofar as it borrows much of its setup from Rainer Werner Fassbinder s The Bitter Tears of Petra von Kant (West Germany...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 54–85.
Published: 01 January 1989
... to perform a role in which it can no longer believe. For most of the film Jeff is either engaged in histrionic displays worthy of Petra Von Kant-displays which locate him decisively on the side of the spectacle-or impotently looking at and brooding upon the one figure who...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
... the affectively charged labor of two sets of prac- tices too often treated as discrete areas of inquiry. Notes I would like to thank Matthew Fee, Amy Shore, Frances Guerin, and Petra Hammerl for their invaluable support and insight with regard to this article. I would also like to express my...