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Published: 01 May 2023
Figure 1. Production photograph, Portrait d'une jeune fille de la fin des années 60 à Bruxelles (dir. Chantal Akerman, Belgium, 1994). Collections Cinematek / Chantal Akerman Foundation. © Jean-Michel Vlaeminckx / Cinergie
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Production photograph, P ortrait d'une jeune fille de la fin des années 60 ...
Available to PurchasePublished: 01 May 2023
Figure 2. Production photograph, P ortrait d'une jeune fille de la fin des années 60 à Bruxelles (dir. Chantal Akerman, Belgium, 1994). Collections Cinematek / Chantal Akerman Foundation. © Jean-Michel Vlaeminckx / Cinergie
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Three-dimensional model of the Munsell Color Tree. Photograph by Hannes Gro...
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in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 5. Three-dimensional model of the Munsell Color Tree. Photograph by Hannes Grobe
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in Breaking at the Edges: Carolee Schneemann's Desires for Dance
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 1. Carolee Schneemann, Newspaper Event (1963). Photograph by Al Giese. © 2020 Hottelet/Giese/Licensed by Artists Rights Society (ARS), NY
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in Breaking at the Edges: Carolee Schneemann's Desires for Dance
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 2. Carolee Schneemann, Meat Joy (1964). Photograph by Al Giese. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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Published: 01 September 2021
Figure 1. Carolee Schneemann, Interior Scroll (1975). Photograph. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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Published: 01 September 2021
Figure 2. Carolee Schneemann, Interior Scroll (1975). Photograph. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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Published: 01 September 2021
Figure 3. Carolee Schneemann with Four Fur Cutting Boards (1962–63). Photograph by Erró
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Published: 01 September 2021
Figure 5. Meat Joy (1964). Judson Memorial Church, New York. Photograph by Al Giese
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Carolee Schneemann and Yvonne Rainer, March 1965. Photograph by Stan Brakha...
Available to PurchasePublished: 01 September 2021
Figure 7. Carolee Schneemann and Yvonne Rainer, March 1965. Photograph by Stan Brakhage
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Published: 01 September 2021
Figure 11. Body Collage (1967). Photograph by Michael Benedikt
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Carolee Schneemann and Kitch in Cullompton, UK (1972). Photograph by Anthon...
Available to PurchasePublished: 01 September 2021
Figure 12. Carolee Schneemann and Kitch in Cullompton, UK (1972). Photograph by Anthony McCall; collage (detail)by Carolee Schneemann
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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 2. Group photograph of Maria Hirszbein and her team on the set of 10 Percent for Me ( 10 procent dla mnie , dir. Juliusz Gardan, Poland, 1933). © Filmoteka Narodowa – Instyut Audiowizualny
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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 3. Group photograph of Maria Hirszbein and her team on the set of Dotting the I ( Kropka nad i , dir. Juliusz Gardan, Poland, 1928). © Filmoteka Narodowa – Instyut Audiowizualny
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Journal Article
Hanging Out Yonkers : A Photographic Record
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Camera Obscura (2019) 34 (1 (100)): 59–65.
Published: 01 May 2019
Journal Article
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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Camera Obscura (2020) 35 (2 (104)): 1–35.
Published: 01 September 2020
...Alanna Beroiza This article examines the visual dynamics underlying wrong-body narratives of gender through Lacanian psychoanalytic readings of Annie Leibovitz’s photographs of Caitlyn Jenner for Vanity Fair (2015) and Pedro Almodóvar’s film La piel que habito (Spain/France, 2011). Leibovitz’s...
View articletitled, How Pictures Make Bodies and Bodies Make Pictures: Gender as a Scopic System in Annie Leibovitz’s <span class="search-highlight">Photographs</span> 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 <span class="search-highlight">Photographs</span> of Caitlyn Jenner for Vanity Fair and Pedro Almodóvar’s La piel que habito
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Published: 01 September 2021
Figure 1. Robert Haller, Portrait of Carolee Schneemann (1978). Photographic print, Carnegie Museum of Art, Pittsburgh. © Robert Haller. Made available by permission. Photograph © 2021 Carnegie Museum of Art, Pittsburgh
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in Agnès Varda: Photography and Early Creative Process
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 7. Agnès Varda, photographic study for L'Opéra Mouffe ( Diary of a Pregnant Woman , France, 1958). © Agnès Varda, 1958
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in Agnès Varda: Photography and Early Creative Process
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 8. Agnès Varda, photographic study for L'Opéra Mouffe ( Diary of a Pregnant Woman , France, 1958). © Agnès Varda, 1958
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in Agnès Varda: Photography and Early Creative Process
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 9. Agnès Varda, photographic study for L'Opéra Mouffe ( Diary of a Pregnant Woman , France, 1958). © Agnès Varda, 1958
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