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Camera Obscura (2017) 32 (3 (96)): 121–154.
Published: 01 December 2017
...Katharina Lindner This article is situated within a critical context in which phenomenological approaches to film intersect with debates around queer cinema, and lesbian film in particular. With a specific focus on Apflickorna ( She Monkeys , dir. Lisa Aschan, Sweden, 2011), it proposes ways...
Camera Obscura (2018) 33 (2 (98)): 41–67.
Published: 01 September 2018
... Said, and Stanley Cavell, this essay proposes that these films pessimistically comment on the changing phenomenology of our cultural relationship to our minds and bodies, fantastically depicting them not only as commodifiable but as made out of lifeless, object-like entities in the first place...
Camera Obscura (2015) 30 (2 (89)): 55–87.
Published: 01 September 2015
... visible borders in space, the film illustrates how psychoanalytically and phenomenologically informed, expansive notions of the body and perceptual field matter for understanding transgender and other forms of gender dissonance. Drawing on disability studies, queer theory, and transgender theory...
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... camera movement. Magnification of ordinary percepts, or a general and unpleasant accenting of objects in the visual field, is a common complaint in the phenomenology of mental illness, for example, in hysteria, obsession, phobia, and paranoia. An illness removes something from its ordinary context...
Camera Obscura (2001) 15 (3 (45)): 115–149.
Published: 01 December 2001
... of the Senses in Michael Powell’s Peeping Tom Elena del Río The eye is not the mind, but a material organ. —Maurice Merleau-Ponty, The Phenomenology of Perception The visible caresses the eye. One sees and hears...
Camera Obscura (2006) 21 (1 (61)): 65–68.
Published: 01 May 2006
... of directors of the American Film Institute. Her books include The Address of the Eye: A Phenomenology of Film Experience (1992), Screening Space: The American Science Fiction Film (1997), and Carnal Thoughts: Embodiment and Moving Image Culture (2004). She has also edited two anthologies...
Camera Obscura (1996) 13 (2 (38)): 92–115.
Published: 01 May 1996
... itself-one that extends its limits beyond the objective frames of visibility and presence. The analysis of the bodily parameters of the screen in Speaking Parts unequivocally brings to mind some of the foundational premises of 96 phenomenological thought. Part of this discussion is therefore...
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... remains unsatisfactory to read this flm as a pure stylistic exercise in chromatic polarizations. Underneath the flm’s surface, in fact, Clay’s body is phenomenologically feshed out. The flm strives to fashion for him a coherent living body that experiences things and objects independently from his...
Camera Obscura (2021) 36 (2 (107)): 151–163.
Published: 01 September 2021
... 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York Schneemann often experimented with the sound recording technology that Tenney brought back home from Bell Labs. 13 She, like Tenney, was interested in phenomenological rather than semantic approaches to sound. As many...
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Camera Obscura (2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
... amount of self-referentiality if not myopia, is not delinquent as such. Only under certain conditions do problems arise. When the phenomenological arrangement is reified and canalized into something like a static picture (Heidegger uses other synonyms, too, “standing reserve” being one of them...
Camera Obscura (1996) 13 (2 (38)): 187.
Published: 01 May 1996
... entitled The Terministic Screen: Essays on the Rhetoric ofFilm and Film Theory, and is working on a book that explores the use of phenomenology in the films of Antonioni, Godard, Egoyan, and Valie Export. Julia Erhart is a lecturer in the Department of Screen Studies, Flinders Univer- sity, Adelaide...
Camera Obscura (2001) 16 (1 (46)): 180–181.
Published: 01 May 2001
... University Press, 2000. Carroll, Michael T., and Eddie Tafoya, eds. Phenomenological Approaches to Popular Culture. Bowling Green, OH: Bowling Green State University Popular Press, 2000. DalMolin, Eliane. Cutting the Body: Representing Women...
Camera Obscura (2004) 19 (2 (56)): 75–103.
Published: 01 September 2004
... position implies appro- priation and reinscription, and she contends from the masculine position of the subject with a feminized and objectiﬁed Stargher over ownership of the gaze. Hook and Eye: Violence and the Captive Gaze • 91 In a phenomenological sense, however...
Camera Obscura (1986) 5 (3 (15)): 174–175.
Published: 01 December 1986
... of the Eye: A Phenomenology of Film Experience is forthcoming from Prince- ton University Press. The Oxford Literary Review SEXUAL DIFFERENCE Masculine Sexuality - 1 Jonathan Dollimore Homophobia...
Camera Obscura (2020) 35 (3 (105)): 60–87.
Published: 01 December 2020
..., it is but another chapter in philosophy s long history of focusing on ideas at the expense of the practical context that enables the space of thinking. This is perhaps best articulated by Sara Ahmed in Queer Phenomenology: Orientations, Objects, Others, where she takes Edmund Husserl and the writing table in his...
Camera Obscura (1977) 1 (2 (2)): 2–33.
Published: 01 September 1977
... of the idealist (specifically phenomenological) notion of vision. Lacan describes the world as 'omnivoyeuristic': 'we are looked-at beings in the spectacle of the world.' ('Nous sommes des etres regardes, dans Ie spectacle du monde'-71) We can see only from one place, through our own eyes: we can never see...
Camera Obscura (1989) 7 (2-3 (20-21)): 209–212.
Published: 01 December 1989
... of historical materialism, on the interdependence of commodity and thought form. My attempt was aimed at coupling the phenomenological precision of Sartre’s gaze, while avoiding its ahis- torical traits, with the theoretical question about the connection of capitalist and patriarchal determinations...
Camera Obscura (2002) 17 (3 (51)): 1–29.
Published: 01 December 2002
... by Hegel in Phenomenology of Spirit: the autonomous and self-constituting subject. The subject exists, Hegel tells us, only by being recognized by another subject.17 He ﬁnds this dependency intolerable, how- ever, since he seeks to be acknowledged not merely as a subject, but also as one...
Camera Obscura (1989) 7 (2-3 (20-21)): 319–322.
Published: 01 December 1989
... for discussion and debate offered through numerous film and women’s studies conferences, as well as a 1983 NEH Seminar, “Beyond For- malism: Phenomenological, Semiotic and Post-Structuralist Ap- proaches to Film,” have also had a significant impact on the directions I have...
Camera Obscura (1991) 9 (3 (27)): 174–178.
Published: 01 September 1991
... Perspectives edited by Linda Ben-Zvi. University of Illinois Press, 1990. The Address of the Eye: A Phenomenology of Film Experience by Vivian Sobchack. Princeton University Press, 1992. $19.95. Images of Postmodern Society: Social Theory and Contemporary Cinema by Norman K. Denzin. SAGE, 1991...