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Journal Article
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
... of mutuality and political contestation rather than a mystified object of horror and abjection. Copyright © 2020 Camera Obscura 2020 horror film apocalypse film African Americans and film deindustrialization the ruin post-Fordism the city Figure 1. Ruinscape. The Road (dir. John Hillcoat, US...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
..., and individuated and internalized production, embodies key characteristics of our economic situation of postFordism.36 The analyses that both Kracauer and Bookchin perform on these “inconspicuous surface level” cultural expressions afford a response to a capitalist totality that is incomprehensible...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 65–97.
Published: 01 December 2016
... Art in a Global Context (Durham, NC: Duke University Press, 2011); Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship (New York: Verso, 2012). 3. Ash Amin, ed., PostFordism: A Reader (Oxford: Blackwell, 1995); Daniel Bell, The Coming of Post...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 4–40.
Published: 01 September 1993
... hologram” and “miniature video-disc playerm set” (TR 110). On the other hand, these cultural “transitional objects”22 are especially overdetermined for the white “working” middle-class (of which, of course, Quaid is a representative) inasmuch as the rise of post-Fordism...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 119–163.
Published: 01 September 2005
... Expedition (dir. Herbert Ponting, UK, 1912–13) and The Cheat (dir. Cecil B. DeMille, US, 1915).9 When years later in 1950 André Bazin recalled that Citi- zen Kane (dir. Orson Welles, US, 1941) “represented for that post- war period a little of what The Cheat represented for 1914–18,” he...