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photographic
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Journal Article
Camera Obscura (2019) 34 (1 (100)): 59–65.
Published: 01 May 2019
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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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in Agnès Varda: Photography and Early Creative Process
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 10. Agnès Varda, photographic study for L'Opéra Mouffe ( Diary of a Pregnant Woman , France, 1958). © Agnès Varda, 1958
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Journal Article
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...
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Published: 01 September 2021
Figure 11. Body Collage (1967). Photograph by Michael Benedikt
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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 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 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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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 3. Carolee Schneemann with Four Fur Cutting Boards (1962–63). Photograph by Erró
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Published: 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 8. Carolee Schneemann editing Fuses (1964–67), 1966. Photographer unknown
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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 Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2022
Figure 2. Three photographs of ‘Ismat, mid-/late nineteenth- century, Golestan Collection, Institute for Iranian Contemporary Historical Studies. Inscription in the left photograph reads, “Deceased ‘Ismat al-Dawlah, elder daughter of Nasir al-Din Shah, wife of deceased Dust Muhammad Khan Mu‘ayyir
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in Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2022
Figure 3. Two photographs of groups of women, mid-/late nineteenth century, Golestan Collection, Institute for Iranian Contemporary Historical Studies. ‘Ismat poses at the center of both photographs. Inscription in the left photograph a reads, “Taj al-Dawlah wife of Nasir al-Din Shah, ‘Ismat al
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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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