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Journal Article
Camera Obscura (1977) 1 (2 (2)): 147.
Published: 01 September 1977
... © 1977 by Camera Obscura 1977 PHOTO CREDITS 147
2: from Little Dog ForRoger by Malcolm LeGrice. Frame enlargements by
B. Augst.
34: Arnold Schoenberg's face, 1926 (photograph by Man Ray), frame en-
largement by B. Augst.
50...
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Published: 01 May 2021
Figure 17. Varda Landing, Sausalito, California. Photo by the author
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in From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 5. Instagram photo of Varda pretending to sleep with her honorary Oscar speech under her pillow. The caption partially reads, “Under my pillow to remind my speech. See you tomorrow!” (Agnès Varda, 2017)
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in From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 7. Instagram photo with Varda posing next to joust posters that feature her cartoon counterpart and other references to her work, with the caption referencing the poster by Christophe Vallaux (Agnès Varda, 2017)
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in From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 11. Instagram photo of Varda's Independent Spirit Award for Visages Villages ( Faces Places , France, 2018)
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in Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 1. Portrait photo of Maria Hirszbein with her dog, Czwartek. © Filmoteka Narodowa – Instyut Audiowizualny
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in Appear to Disappear: Blackness, Affect, and the Political Imaginary
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2023
Figure 1. Audience member confronts Johari Idusuyi. This photo apparently came from a photoset originating on a tumblr page (commongayboy-deactivated2018082), but it has since been deactivated.
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in Self-Suspension in Frames: Hito Steyerl's Lovely Andrea
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 6. The tied-up legs of a bondage model in a 2007 photo shoot. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist
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Journal Article
Camera Obscura (2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
... of the infamous photos of Abu Ghraib, investigates the frame that creates the figure of the “cluster fuck”—a hopeless entanglement of sexualized yet inept forces—that proves the most eloquent figure of the American entanglement in Iraq. Morris's film can help us discover the difference between a frame...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 177–189.
Published: 01 September 2013
... of a daylong series of events sponsored by the Feminist Art Project and organized by art historians Julia Bryan-Wilson and Johanna Burton. Leonard and Copeland took two of her works as touchstones for their exchange: The Fae Richards Photo Archive (1993 – 96), originally conceived as part of Cheryl Dunye's...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 1–35.
Published: 01 September 2020
... to gender. Staged in Jenner’s domestic space, often before mirrors that reflect the camera alongside its subject, Lei-bovitz’s photos portray Jenner at the center of complex scenarios of mastery over her image. These images demonstrate an awareness of their constructed nature at the same time as they offer...
View articletitled, How Pictures Make Bodies and Bodies Make Pictures: Gender as a Scopic System in Annie Leibovitz’s Photographs of Caitlyn Jenner for Vanity Fair and Pedro Almodóvar’s La piel que habito
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for article titled, How Pictures Make Bodies and Bodies Make Pictures: Gender as a Scopic System in Annie Leibovitz’s Photographs of Caitlyn Jenner for Vanity Fair and Pedro Almodóvar’s La piel que habito
Journal Article
Camera Obscura (2022) 37 (1 (109)): 149–175.
Published: 01 May 2022
... on their dashboards. And so, on a larger scale, important events and familiar ideas also become pieced together on narrative timelines in relation to each other—for example, an interview of multiple band members from the One Direction era must necessarily come before a solo-tour photo—rather than in relation...
FIGURES
Journal Article
Camera Obscura (1991) 9 (3 (27)): 88–107.
Published: 01 September 1991
... ourselves in relation to these photo-
graphic images, we posit ourselves in space and time. We regard these
photographic images as the proof or arbiter of our existence across
the passage of time. As prosthetic memories, photographs transform
the reality of time...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 103–123.
Published: 01 December 2013
... her father
taking a photo of the family posed in front of the restored home,
Bechdel includes her own image of the family watching television,
eating popcorn, and playing inside the house — her own portrait
of them “really” living (17). Placed side by side in the narrative,
the images...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 54–85.
Published: 01 January 1989
... as “the photo session,” i.e. the clicking
of an imaginary camera which photographs the subject and thereby
constitutes him or her.14 ‘‘What determines [the subject], at the most
profound level, in the visible,” remarks Lacan, “is the gaze that is
outside. It is through the gaze that [the subject...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... and the Moving Image (University of Minnesota Press, 2011) and is writing a book on American sexploitation film of the 1960s. © 2011 by Camera Obscura 2011 Viva (dir. Anna Biller, US, 2007). Photo still © Anna Biller.
Photo by Steve Dietl
“Dated Sexuality”: Anna Biller’s
Viva and the Retrospective...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 77–107.
Published: 01 September 2013
... in a comfortable, middle-class household in
Brooklyn (fig. 1). Initially, we are presented with a sense of idyl-
lic harmony: this multicultural family is depicted through family
photos, home videos, and warm interactions among family mem-
bers. But Avery emerges as the most dissatisfied of the siblings...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 88–115.
Published: 01 December 1982
...
Lepns de Choses (Lessons about Things) Jean-Luc
Photos et Cie. (Photos and Company) Marcel
Pas d’Histoire (No History/No Story) Nanas (Chicks)
Nous ‘Trois (We Three) Ren 6 (e)s
Avant et Aprks (Before and After) Jacqueline et Ludovic...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 112–147.
Published: 01 September 1985
...Abigail Solomon-Godeau Copyright © 1985 by Camera Obscura 1985
Reconstructing Documentary:
Connie Hatch’s Representational Resistance
AbzguiZ Solomon- Godeuzl
Above my desk, affixed to my bulletin board is a poster from an exhibition
entitled Photo Politic which took place five...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 206–215.
Published: 01 September 1990
...
one and the same.
Two sequences are particularly disquieting in this way: the first,
where Tanikawa is writing and yet for a long time we see Terayama
in a photo album (that Tanikawa has come across, he makes clear
only afterwards, once the uneasiness is felt); and the next to last, where...
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