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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 187–193.
Published: 01 September 2016
...Heather Davis Plastic is a seemingly ubiquitous material, one that is both all too visible and, as such, opaque. Beginning with the use of plastic for sex toys, this essay tracks some of the strange convergences between plastic, as a material, and queer theory. In particular, it follows how...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 59–83.
Published: 01 September 2014
...Alexia Smit Critical accounts of plastic surgery television tend to explain women viewers' engagement with it either through comparisons to pornography and in terms of visual pleasure or by figuring the viewer as a docile, disciplined subject who reproduces the values espoused by the format. This...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 149–153.
Published: 01 September 2016
... refusal of the female body's objectification and also a catalyst for collectivization. Heather Davis argues that plastic is an opaque queerness, and Nathan Lee writes on the condition of being HIV undetectable as an optimistic imperceptible relationship to one's body. Across these texts, opacity operates...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2015) 30 (2 (89)): 55–87.
Published: 01 September 2015
... a woman who performs a masculinity that persists even after she is presumably cured through plastic surgery and conventional garb, indicating that masculinity is not necessarily aligned with appearance or anatomy. Crucially, Anna's felt sense that her scars persist after their removal—evoking the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 47–51.
Published: 01 May 2006
... be improved by getting buttock implants. The growing number of misogynist plastic surgery reality shows is particularly dispiriting. Though generally designed to be uplifting rather than nasty, Dr. 90210, Body Work, and Plastic Sur- gery: Before and After are antithetical to any...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1992) 10 (1 (28)): 206–237.
Published: 01 January 1992
... plastic surgery. Whereas reconstructive surgery works on catastrophic, congenital or cancer-damage deform- ities, cosmetic or aesthetic surgery is often an entirely elective endeavor. And whereas reconstructive surgery is associated with the restoration of health, normalcy...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 184–185.
Published: 01 December 2014
...: The Worlds of Susanne Bier. No. 85: pp. 5 – 31 Belinda Smaill, see Therese Davis and Belinda Smaill Alexia Smit Care, Shame, and Intimacy: Reconsidering the Pleasures of Plastic Surgery Reality Television. No. 86: pp. 59 – 83 Julia Vassilieva “Becoming-Girl”­ in the New Russian Cinema...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 11–39.
Published: 01 May 2015
... hoarders, plastic surgery junkies to bridezillas — it saves a special invective for mothers whose desires for fame drive them to “prostitute” themselves and their children to the voracious appetites of fame. Mothers who actively work for celebrity thus signal a form of unhealthy, even pathological...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 133–154.
Published: 01 May 1988
... going to get dirty. But Miss Yvonne says, “Don’t worry about that, you know my motto.” “No, what’s that Pee-wee asks. “Be Prepared she exclaims, as she whips out a clear plastic raincoat to cover her pale chiffon dress and billowing crinolines. Pee-wee helps her put it on...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 11–45.
Published: 01 September 1990
... dismantling of this ontological distinction between “linguistic” and “plastic” representations that still reigns in aesthetic theory today? This problem is crucial for the study of contemporary mass culture and the newest forms of mass communication. Cinematic, televisual, and other electronic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 72–79.
Published: 01 September 1980
... incestuous Oedipal impulses are converted into exterior signs, physical symptoms, lends itself to a cinematic depiction. (Freud had commented on the “plastic” portrayal of hysterical attacks.) Rather than showing the actress flailing around in a “hysterical” attack, we are given uncanny, rigid...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 12–19.
Published: 01 December 1982
... interesting plastically . . . (“Propos rompus,” Cahiendu Cinkma, no. 316 (Oct. 1980). Here, it is clear that women are seen as more engrossing than men: they are nntuvdly enigmatic (further, Godard suggests, this interest is some- thing to be investigated-“As I am scientific and know certain...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... diegetic time with its serial now, and tantalizes spectators with the sense of something just beyond view. The telephone makes the anonymous spaces of work and domestic life plastic, and the film marks time through dialogue (e.g., “It’s been four months . . . ”) and title cards (e.g., “Two Weeks...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
..., and music. The objection to uses of the logo and likeness, which function as authenticating markers within the plastic mise-en-scène, points to a desire not only to protect the Car- penters’ privacy and property but also very literally to preserve the duo’s image(s). But it is the Carpenters...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1986) 5 (3 (15)): 36–65.
Published: 01 December 1986
... ads. A strikingly lovely woman tells a Beverly Hills plastic surgeon that her modelling agency has requested several changes to perfect her face. She presents him with a computerized analysis that lists a series of minute “defects” to the mil- limeter. Dr. Roberts has...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2003) 18 (3 (54)): 41–69.
Published: 01 December 2003
... Rhinos” sweetly critiqued the epi- demic of plastic surgery among young Lebanese women desperate for Western-looking noses. Touma drove the borrowed truck “Sousou la Coquette” around Beirut offering for sale not fruit but marzipan noses in “ethnic” shapes. Over the truck’s megaphone (which usually...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 46–63.
Published: 01 September 1990
... perfection really happened once). Scenic: There is some exotic ethnographic footage from the Land of Propp. And an 50 ocean voyage, 20,000 Leagues Under the Sea-in a fishtank, replete with a blue plastic sea monster and several small goldfish. Novelty Sort: Well, there are the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2007) 22 (2 (65)): 103–123.
Published: 01 September 2007
... — what Richard Schechner calls “restored behavior” and Judith Butler “discursive production.”10 Thus is “Jeanne Cooper” a role whose (re)construction comes into focus most sharply — and quite literally — when she airs footage of her plastic surgery, but whose cultivation also emerges in such...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
... issues of sexuality, race, and gender. In a 1992 series, Sherman uses large format photography to form a gendered and racialized spectacle of sculpted and cast plastic prosthetic body parts. The figure in Untitled #264 is in a common position for reclining female nudes in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 198–210.
Published: 01 May 1979
... performance. Therefore it has to do with time and with the camera working in a traditional kind of way - the recording of an action, not changing the speed or plastically affecting the quality of the space. And, if it has to do with time, it has to do with psychology, which means it has...