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postwar France

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Journal Article
Camera Obscura (2022) 37 (3 (111)): 69–85.
Published: 01 December 2022
... thus squarely situates her essay in a continuum of claims about cinematic essence, which had identified it with the medium's privileged access to the real. 12 Perhaps unsurprisingly, the very terms Vedrès uses in the text were taken up shortly after in a piece by postwar France's preeminent...
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Journal Article
Camera Obscura (2022) 37 (3 (111)): 59–67.
Published: 01 December 2022
...) Figure 1. Le repas de bébé (Baby's Meal, dir. Louis Lumière, France, 1895) montage postwar France translation realism Copyright © 1965 Nicole Vedrès. English translation Copyright © 2022 by Camera Obscura Published by Duke University Press 1965 2022 ...
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Journal Article
Camera Obscura (1995) 12 (2 (35)): 223–225.
Published: 01 May 1995
..., New Wave, New Politics: Fictionand the Representation ofHistory in Postwar France by Lynn A. Higgins. University of Nebraska Press, 1996. Four More Screenplays by Preston Sturges. University of California Press, 1995. $35.00. Cinema and the Invention ofModern Life edited by Leo Charney and Vanessa...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
..., University of London. His essay is part of a forthcoming book entitled Remapping European Art Cinema . 01-Betz.sh 5/29/01 12:29 PM Page iv La notte (dir. Michelangelo Antonioni, Italy/France, 1961). Courtesy the Museum of Modern Art Film Stills Archive...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... of the soup—the resources allocated to women's and feminist filmmaking in the postwar era by feminist structures of opportunity—to consider how those legacies might be historicized in the era of feminisms' eclipse. Camera Obscura 2009 Kathleen McHugh ( mchughla@ucla.edu ) directs the Center...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 99–141.
Published: 01 May 2001
... officers). The two researchers make it clear that the ostracized French women in postwar France were rarely political collaborators but rather women in love.45 An interview with a Russian officer, Leonard Buchov, who 04-McCormick.sh 5/29/01 12:39 PM Page 111...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
... to be inscribed in classical Hollywood cinema and, more generally, in AIDS and Gay Cinephilia • 89 postwar American mass culture. It is this affective relationship to the cinematic archive that renders these films works of cinephilia. Cinephilia becomes the dynamic...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 93–127.
Published: 01 December 2007
..., Tunisian, and Moroccan men to rebuild France’s postwar infrastructure and urban centers dis- rupted the network of interdependent familial relations among regional populations in a manner now inviting critical evaluation Aural Topographies of Migration  •  97...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
...), Savage Grace (dir. Tom Kalin, Spain/US/France, 2007), and A Single Man (dir. Tom Ford, US, 2009). Released at a historical conjuncture when queer debates about marriage and conjugal life are deeply polarized, these works share an ambivalent and stylized fascination with the white bourgeois family...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 33–57.
Published: 01 May 2005
... tous (I Stand Alone, dir. Gaspar Noé, France, 1998). Courtesy Strand Releasing Rape and the Rectum: Bersani, Deleuze, Noé Eugenie Brinkema The club is called Rectum, and everywhere one thinks of Bersani. As Marcus and Pierre storm through the darkened red tunnels, the space before...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 35–83.
Published: 01 May 2003
... of the customs and lan- guages of the culture that he experienced Jewishness. Having been secularly educated in assimilationist postwar France, he was with- out direct experience of a larger Jewish community beyond the boundaries of his own home. He realizes with astonishment and a great sense of loss...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 99–125.
Published: 01 September 2021
... at representing the Shoah. 5 In the course of the postwar decades, the predominant inclination in film has been to draw back from the ultimate reality of the genocide. Within a “normative tendency that has privileged testimony over images,” canonical films like Alain Resnais's Night and Fog (France, 1956...
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Journal Article
Camera Obscura (1993) 11 (1 (31)): 149–151.
Published: 01 May 1993
... Press, 1994. $45.00. Tendencies by Eve Kosofsky Sedgewick. Duke University Press, 1993. $15.95. Women’s Pictures: Feminism and Cinema by Annette Kuhn. Verso, 1993. $17.95. In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 23–55.
Published: 01 December 2004
...- cis Ford Coppola, US, 1988), Malcolm X (dir. Spike Lee, US, 1992), Nixon (dir. Oliver Stone, US, 1995), Geronimo (dir. Roger Young, US, 1993), The Doors (dir. Oliver Stone, US, 1991), Chaplin (dir. Richard Attenborough, UK/US/France/Italy, 1992), What’s Love Got to Do with It? (dir. Brian Gibson...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 157–187.
Published: 01 September 2015
... University. He has taught literary theory, film and media studies, and US culture at Brown University, Rhode Island School of Design, Amherst College, Massachusetts Institute of Technology, and the University of Massachusetts at Boston. His book What Lies Between: Void Aesthetics and Postwar Post-Politics...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 87–107.
Published: 01 May 2021
..., “Varda: The Gleaner and the Just,” in Situating the Feminist Gaze and Spectatorship in Postwar Cinema , ed. Marcelline Block (Newcastle upon Tyne: Cambridge Scholars, 2008), 214–25. 7. Hommage aux Justes de France , program for the Les Justes au Panthéon installation in Avignon, 7–27 July 2007...
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Journal Article
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
... to advance their critique of “managed life” during postwar economic growth. My readings focus on films by pink auteur Wakamatsu Kōji as well as roman poruno directors that feature residents of danchi — Japanese high-rise apartment complexes built to solve the postwar housing shortage. Wakamatsu maps...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 93–119.
Published: 01 December 2017
..., independent white hetero femininity that indexed several entangled biopolitical concerns of the early 1960s: the remnants of the lavender scare, the burgeoning feminist movement, and the changing status of whiteness in postwar America. The essay explores the way in which this white femininity was produced...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 109–125.
Published: 01 May 2021
... assignment; the postwar period in France saw a proliferation of noteworthy short films, many of them made by future New Wave directors, and many of which resulted from governmental or corporate commissions. Varda's shorts were financed by the tourism board and produced by now-legendary New Wave producers: O...
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Journal Article
Camera Obscura (2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... of the Past (dir. Jacques Tourneur, US, 1947), On Dangerous Ground (dir. Nicholas Ray, France, 1952), and High Sierra (dir. Raoul Walsh, US, 1941), for example. Likewise, many key scenes in postwar melodra- mas take place in outdoor settings, especially in Sirk films such as Magnificent Obsession (US...