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postwar France

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Journal Article

“The very palpitation of life!”: “The Leaves Are Stirring” in Context

Ivan Cerecina
Camera Obscura (2022) 37 (3 (111)): 69–85.
DOI: https://doi.org/10.1215/02705346-10013618
Published: 01 December 2022
...@sydney.edu.au Copyright © 2022 by Camera Obscura Published by Duke University Press 2022 Nicole Vedrès postwar France montage realism André Bazin Not long after its premiere at the 1947 Cannes Film Festival, Nicole Vedrès's archival documentary Paris 1900 (France) had become something...
FIGURES
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Journal Article

The Leaves Are Stirring (1948)

Nicole Vedrès, Ivan Cerecina
Camera Obscura (2022) 37 (3 (111)): 59–67.
DOI: https://doi.org/10.1215/02705346-10206824
Published: 01 December 2022
... Copyright © 2022 by Camera Obscura Published by Duke University Press 1965 2022 montage postwar France translation realism Figure 1. Le repas de bébé ( Baby's Meal , dir. Louis Lumière, France, 1895) Figure 1. Le repas de bébé (Baby's Meal, dir. Louis Lumière, France, 1895...
FIGURES
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Journal Article

Books Received

Camera Obscura (1995) 12 (2 (35)): 223–225.
DOI: https://doi.org/10.1215/02705346-12-2_35-223
Published: 01 May 1995
... 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 R. Schwartz. University of California Press, 1996. $19.95...
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Journal Article

The Name above the (Sub)Title: Internationalism, Coproduction, and Polyglot European Art Cinema

Mark Betz
Camera Obscura (2001) 16 (1 (46)): 1–45.
DOI: https://doi.org/10.1215/02705346-16-1_46-1
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...
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Journal Article

The World and the Soup: Historicizing Media Feminisms in Transnational Contexts

Kathleen McHugh
Camera Obscura (2009) 24 (3 (72)): 111–151.
DOI: https://doi.org/10.1215/02705346-2009-011
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 Binational cinema: Deepa Mehta’s Fire (India/Canada, 1996) The World...
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Journal Article

AIDS and Gay Cinephilia

Roger Hallas
Camera Obscura (2003) 18 (1 (52)): 85–127.
DOI: https://doi.org/10.1215/02705346-18-1_52-85
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...
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Journal Article

Rape and War, Gender and Nation, Victims and Victimizers: Helke Sander's BeFreier und Befreite

Richard W. McCormick
Camera Obscura (2001) 16 (1 (46)): 99–141.
DOI: https://doi.org/10.1215/02705346-16-1_46-99
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...
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Journal Article

Aural Topographies of Migration in Yamina Benguigui's Inch'Allah dimanche

Angelica Fenner
Camera Obscura (2007) 22 (3 (66)): 93–127.
DOI: https://doi.org/10.1215/02705346-2007-016
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...
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Journal Article

The Times of The Hours : Queer Melodrama and the Dilemma of Marriage

Julianne Pidduck
Camera Obscura (2013) 28 (1 (82)): 37–67.
DOI: https://doi.org/10.1215/02705346-2016951
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...
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Journal Article

Rape and the Rectum: Bersani, Deleuze, Noé

Eugenie Brinkema
Camera Obscura (2005) 20 (1 (58)): 33–57.
DOI: https://doi.org/10.1215/02705346-20-1_58-33
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...
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Journal Article

Memory Once Removed: Indirect Memory and Transitive Autobiography in Chantal Akerman's D'Est

Alisa Lebow
Camera Obscura (2003) 18 (1 (52)): 35–83.
DOI: https://doi.org/10.1215/02705346-18-1_52-35
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...
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Journal Article

Daughter of Saul, or Saul Leanya : The Gendered Place of Atrocity in László Nemes's Son of Saul

Szidonia Haragos
Camera Obscura (2021) 36 (2 (107)): 99–125.
DOI: https://doi.org/10.1215/02705346-9052816
Published: 01 September 2021
.... Klinger conceptualizes “the arresting image” in art film while describing the single closing shot in Jane Campion's The Piano (New Zealand/Australia/France/US, 1993). According to Klinger, the exact meaning of such an image remains unclear, while evoking a “deeply affective dimension” (24...
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Books Received

Camera Obscura (1993) 11 (1 (31)): 149–151.
DOI: https://doi.org/10.1215/02705346-11-1_31-149
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...
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Journal Article

The Incredible Shrinking Star: Todd Haynes and the Case History of Karen Carpenter

Mary Desjardins
Camera Obscura (2004) 19 (3 (57)): 23–55.
DOI: https://doi.org/10.1215/02705346-19-3_57-23
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...
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Journal Article

Passion, Commitment, Compassion: Les Justes au Panthéon by Agnès Varda

Sandy Flitterman-Lewis
Camera Obscura (2021) 36 (1 (106)): 87–107.
DOI: https://doi.org/10.1215/02705346-8838553
Published: 01 May 2021
...Sandy Flitterman-Lewis Abstract Agnès Varda's 2007 installation Les Justes au Panthéon ( The Righteous at the Pantheon , France) honored the many French “Righteous” who saved Jewish children during World War II in a ceremony commemorating their heroic actions with the placement of a plaque...
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Agnès Varda, Producer

Kelley Conway
Camera Obscura (2021) 36 (1 (106)): 109–125.
DOI: https://doi.org/10.1215/02705346-8838565
Published: 01 May 2021
... about the castles of the Loire Valley ( O saisons, ô chateaux ) and the other about the pleasures of the French Riveria ( Du côté de la côte ). This was not an anodyne assignment; the postwar period in France saw a proliferation of noteworthy short films, many of them made by future New Wave directors...
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The Terror That Makes One Whatever One Is: Sterling Hayden's Emotional Testimonies

Matt Tierney
Camera Obscura (2015) 30 (2 (89)): 157–187.
DOI: https://doi.org/10.1215/02705346-3078358
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...
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Journal Article

The Many Lives of Mr. Yunioshi:: Yellowface and the Queer Buzz of Breakfast at Tiffany’s

Melissa Phruksachart
Camera Obscura (2017) 32 (3 (96)): 93–119.
DOI: https://doi.org/10.1215/02705346-4205088
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...
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The Wages of Affluence: The High-Rise Housewife in Japanese Sex Films

Anne McKnight
Camera Obscura (2012) 27 (1 (79)): 1–29.
DOI: https://doi.org/10.1215/02705346-1533430
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...
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Journal Article

The Front Lawn of Heaven: Landscape in Hollywood Melodrama circa 1945

Jennifer Peterson
Camera Obscura (2010) 25 (2 (74)): 119–159.
DOI: https://doi.org/10.1215/02705346-2010-004
Published: 01 September 2010
... locations: Out 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...
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