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Journal Article
Camera Obscura (2010) 25 (1 (73)): 1–27.
Published: 01 May 2010
...Ned Schantz This essay considers the recurring problem of plot alternatives in Alfred Hitchcock, of powerful shadow scenes that overwhelm the manifest plot and demand a critical account of their own. Confronting such shadow scenes, the viewer takes up a social position in a long chain of failed...
Journal Article
Why Isn't Michelle Lopez on Judge Judy ? Citizenship and Televisuality in Hima B.'s And I Do Survive
Camera Obscura (2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
... of governmentality. Shot in real time between 2002 and 2007, And I Do Survive takes as its subject the HIV-positive bisexual activist Michelle Lopez. Born in Trinidad, Lopez has been in the US for close to two decades now but has been unable to acquire citizenship because of a legal ban on HIV-positive immigrants...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
...Kristen J. Warner This article explores the interstitial spaces between positive and negative representations of black womanhood on reality television. It argues that regardless of the presence of supposedly positive images in media, if audiences choose to see black women as “loud,” the symbolic...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 195–203.
Published: 01 September 2016
...Jasmina Tumbas In this interview, the author and Australian artist Jemima Wyman discuss the position of art and activism in Wyman's artistic practice. Focusing on opacity as a political position in the conception and production of her artwork, Wyman comments on her use of patterns, performance...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... that these filmmakers exploit what I term the audience's cruel knowledge about actresses in order to position the films in relation to the other art forms associated with their actresses (ballet and pornography). Building from the premise that spectacle and excess are necessary to both celebrity and cruelty, I argue...
Journal Article
Camera Obscura (2018) 33 (2 (98)): 69–103.
Published: 01 September 2018
... representation of women’s suffrage to be inherently feminist. Some go so far as to use Mary Poppins as a vehicle through which to reflect on feminist and women’s history. This essay challenges the assumption that the film seeks to offer a positive commemoration of suffrage history, suggesting instead that Mrs...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 163–183.
Published: 01 May 2019
... by the participants in the symposium condense their contributions, their thoughts, and the sometimes contradictory positions that surfaced after the viewing of Akerman’s films. Films served as spaces of resistance, reconsidering the boundaries of history and presence, of fiction and document, and of biography...
Journal Article
Camera Obscura (2019) 34 (2): 195–207.
Published: 01 September 2019
... specifically positioned as an artifact of our contemporary moment in technology and culture, addressing some of the more widely held assumptions about selfies and selfie culture today. Copyright © 2019 Camera Obscura 2019 Anne Collier selfie Woman with a Camera mirror photography appropriation...
Journal Article
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
..., and internal memos) of women story editors such as Dorothy Hechtlinger, Alice Young, Jacqueline Babbin, and Janet Wood in conjunction with the historical work of David Waterman and Erin Hill, as well as the theoretical model Michel Foucault posits in his essay on the criminal notices of obscure “infamous men...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 109–137.
Published: 01 May 2020
... ethical questions around white imperial violence, the disposability of brown lives, and the current political shift of and toward white women in positions of intense power. The article argues that these two technologies of domination—visual culture that entertains its citizens and political practice...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 30–59.
Published: 01 December 2020
... participate in environmental social justice while also enfolding the environment into sexual arrangements. “Masturbatory ecologies” thus signifies a self-gratifying mode of environmentalism that harnesses the self, the body, and the erotic to foster positive environmental world building in apocalyptic times...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 142–153.
Published: 01 December 2020
... measures and push for redistributive results beyond symbolic commitment, individual recognition, and positive publicity. © 2020 by Camera Obscura 2020 Anna Serner 50/50 by 2020 campaign gender equality work Swedish Film Institute Figure 1. Alicia Vikander, Charlotte Rampling, and Eva Green...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 151–163.
Published: 01 September 2021
...Melissa Ragona Abstract This essay examines the central position the medium of sound played in the work of the artist Carolee Schneemann (US, 1939–2019). By exploring a few key early works such as Glass Environment for Sound and Motion (1962), Chromelodeon (1963), and Noise Bodies (1965), it traces...
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Journal Article
Camera Obscura (2017) 32 (3 (96)): 1–31.
Published: 01 December 2017
... Mitch and Cam, has raised the hackles of audiences who see in it a whitewashing of queer life and queer desire. A strain of television criticism posits a conservatism inherent to the narrative structures of the sitcom, and this dynamic would in some measure account for the tension between the program’s...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... an “unperforming of the self” through the cultivation of an impersonal intimacy that deferred a fixed subjectivity and frustrated the racial expectations of her audiences. She developed this impersona through three interlocking tactics: a disarticulation of self and song; a reversal of the psychic positions...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 89–111.
Published: 01 May 2008
... bodies. This integration seems to be invested with limiting the potential positions from which spectators can approach the musical performance—most crucially, in preventing identification with singers' bodies. In this way, the integration of Oklahoma! participates in the tradition of the Wagnerian...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... studios, and, most important, as a young director articulating a position of youth in a cultural milieu traditionally dominated by an older generation's point of view. Her work and profile as a director thus offer a specifically gendered and generational dimension to the geopolitical movements...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 165–173.
Published: 01 May 2016
...Donna Kornhaber This article positions the work of the feminist animation studio Lift Animation as a corrective to the industrialized processes and gendered hierarchies of traditional commercial animation studios. It examines Lift's unique place in the world of contemporary animation as a studio...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 167–173.
Published: 01 September 2016
... conventional testing, a new form of identity has been produced that collapses the categories of “positive” and “negative.” The undetectable person is at once neither and both, a curious indeterminacy that throws into question what we mean when we speak of our “status.” In his treatise The Principles...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 129–159.
Published: 01 December 2015
... cinema deployed in its attempt to manage a new and potentially dangerous circulation of the heroine's body. By highlighting these strategies' frequent failure to contain Dixit's flamboyantly dancing body, this article posits that the dancer-actress engenders a distinctive mode of performance...
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