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pop music

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Journal Article
Camera Obscura (2015) 30 (2 (89)): 1–27.
Published: 01 September 2015
... female performer and, in some cases, a pop music sound track; these films include COSMIC RAY (1961), VIVIAN (1964), EASTER MORNING RAGA (1966), and THE WHITE ROSE (1967). This essay examines a work by Conner that combines all of these elements, 1966's BREAKAWAY, an experimental dance film he made...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 134–153.
Published: 01 September 1995
... the politics of race, class, gender, sexuality, and the consequences of cross-over marketing in the music industry. My study attempts to unravel the layers of media representations that construct a contem- porary pop superstar. While my conclusions are specific to Whitney Houston, one could...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
... happens every time the film screens with pop music accompaniment. In contrast to Scorpio Rising, in which Anger himself predetermined the connotations and ironies prompted by the juxtapositions of pop singles with charged sexual images, in Christmas such effects are structurally spontaneous...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 149–175.
Published: 01 May 2022
... (accessed November 2020). 11. Hannah McCann and Clare Southerton, “Repetitions of Desire: Queering the One Direction Fangirl,” Girlhood Studies 12, no. 1 (2019): 49–65; Emily E. Roach, “The Homoerotics of the Boyband, Queerbaiting and RPF in Pop Music Fandoms,” Journal of Fandom Studies 6, no. 2...
FIGURES
Journal Article
Camera Obscura (2007) 22 (2 (65)): 1–9.
Published: 01 September 2007
... arguably became contemporary pop music’s primo uomo when he was asked to be the first man to perform on the VH-1 Divas Live shows (1998 – 2004) in 1999. Allegedly exchanging heated words with each other right before the show, John and Tina Turner went on to perform a ferocious “The Bitch...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 65–97.
Published: 01 September 2021
... imperfections in the singer's voice, to bring her voice to perfect pitch. 42 Indeed, a large part of electronic and pop music production still uses Auto-Tune for pitch correction. This corrective (or perhaps cosmetic) use of Auto-Tune usually remains inconspicuous. The aesthetic ideal of this use...
FIGURES | View All (7)
Journal Article
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
... of fashion, music and dance, and automobiles. The reification of the teenager as a pop icon is announced in no uncertain terms by Mambo Girl’s rather odd opening credit sequence. A series of line drawings of dynamic dancing figures provide the backdrop for a doll realistically rendered as a young...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 1–39.
Published: 01 September 2010
..., and women’s music, and thus risked reaffirming the very historical association of power and masculinity against which the company is working.51 One nonrock genre that Daisy Rock no longer ignores is pop, a form of popular music in which many women have excelled. Nonetheless, it is troubling...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 39–71.
Published: 01 September 2007
... the governor of Oz, believing that Elphaba has killed herself, but Elphaba is alive, and she leaves Oz with Fiyero to go to another land. Wicked’s music and lyrics were written by Stephen Schwartz, who also wrote Godspell (1971) and Pippin (1972). Its musical style is hummable pop, and its...
Journal Article
Camera Obscura (1996) 13 (2 (38)): 29–59.
Published: 01 May 1996
... da Xuxa contributes to such an image, Simpson argues, with its "glossy, cosmopolitan look," extensive use of generic-sounding disco and pop music, and central emphasis on the fashionably (and often sexily) dressed star." Simpson describes a typical episode: [T...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 134–139.
Published: 01 September 2007
... interest in Jones’s music, particularly in her early 1980s albums, whose austere pop aesthetic — what Simon Reynolds and Joy Press call “the eroticisation of alienation” — is beginning to sound cutting edge again, in a back-to-the-future kind of way.7 In 2003,  Jones was a special guest at London’s...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 86–107.
Published: 01 January 1989
... are contemporary, but proceed largely through flashbacks, often motivated by pop music. 21. “ ‘Thirtysomething’: A Chronicle of Everyday Life” C26. Cf. Zwick’s statement that “It’s not that we don’t endorse the larger, sociopolitical concerns of hunger, the homeless...
Journal Article
Camera Obscura (2019) 34 (3): 157–167.
Published: 01 December 2019
.... For Girls, music supervi- sors Manish Raval and Tom Wolfe secured sync licensing agree- ments with Swedish electro duo Icona Pop, singer-songwriter Lia Ices, and indie dance act Christine and the Queens.8 As part of her development deal with HBO, Rae hired music video direc- tor Melina Matsoukas to direct...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
...Francesca Coppa Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation of and confrontation...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 192–209.
Published: 01 December 1982
... result, also emphasized by strictly narrative means, is to underline the fact that music in Western society is a consumer item (Nana sells records in Vivre sa vie; Madeleine is a pop singer in Masculinfiminin). Turning finally to what is broadly termed “sound effects,” we en- counter...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 6–11.
Published: 01 September 1995
... singer and actress Whitney Houston as her primary text, Shelton traces the political and historical contexts that influence the presentation, popularity, and consumption of particular Black female pop stars. Examining the figure of Houston across the popular media of music, television, and film...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 47–75.
Published: 01 May 2001
... constellation was suitable for it. The Nouvelle Vague created a new audience but also the music revolution was important. Rock music brought about many changes: people started going to underground films as they would go to concerts, as a form...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 187–219.
Published: 01 December 2004
... is with popular media history—the more aware of film and other media conventions and references—the more engaging the work. Haynes rewards the cinephile (not to mention the television and pop music lover) by peppering his texts with media citations, allu- sions, and recollections, working both to gratify...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... with the Carpenters’ music and the “naive” early-seventies pop culture but also evoke memories of the tapes’ sources. After a decade-plus of underground life, Superstar cannot be discussed outside the context of its distribution. Nor, I argue, can it be analyzed without looking at the meanings encoded onto...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... representations of the characters being played. Along with text narration, the pro- jection screen also displays achievement pop-­ups, small windows that denote when a player has unlocked an “achievement” from a predetermined list, which are commonly used in the game industry to incentivize multiple...