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Journal Article
The Power of Words, The Power of Images
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Camera Obscura (1990) 8 (3 (24)): 7–10.
Published: 01 September 1990
...Raymond Bellour; Elisabeth Lyon Copyright © 1991 by The Johns Hopkins University Press 1990 The Power of Words, The Power of Images
Raymond Bellour
Depending on one’s choice of chronology and emphasis, two essential
things have been happening for ten, twenty, thirty years...
Journal Article
Female Power in the Serial-Queen Melodrama: The Etiology of an Anomaly
Available to Purchase
Camera Obscura (1990) 8 (1 (22)): 90–129.
Published: 01 January 1990
...Ben Singer Copyright © 1990 by The Johns Hopkins University Press 1990
Female Power in the Serial-Queen Melodrama:
The Etiology of an Anomaly
Ben Singer
Few film genres so historically anomalous, and so pertinent to con-
temporary discussions of gender and spectatorship, have...
Journal Article
Sight, Insight, and Power: Allegory of a Cave
Available to Purchase
Camera Obscura (1980) 2 (3 (6)): 90–110.
Published: 01 December 1980
...Thierry Kuntzel; Nancy Huston © 1980 by Camera Obscura 1980 ∗“Sight, Insight, and Power” was published in French as “Savoir, Pouvoir, Voir” in Ça Cinéma , no. 7–8 (May 1975).
Sight, Insight, and Power: Allegory of a Cave*
Thierry Kuntxel
One...
Journal Article
Beyoncé’s Soft Power: Poetics and Politics of an Afro-Diasporic Aesthetics
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Camera Obscura (2019) 34 (2): 1–39.
Published: 01 September 2019
... the political power of these interventions, accusations were leveled at Beyoncé of cultural appropriation and exploitation of suffering by the neoliberal entertainment machine. By mentoring these artists, Beyoncé sought to convey the fertility of creative foment across borders and power hierarchies, even if her...
Journal Article
All In The Family: On David Morley's Family Television: Cultural Power and Domestic Leisure (London: Comedia, 1986); and Philip Simpson's (editor), Parents Talking Television (London: Comedia, 1987)
Available to Purchase
Camera Obscura (1988) 6 (1 (16)): 169–177.
Published: 01 January 1988
...Andrew Ross Copyright © 1988 by The Johns Hopkins University Press 1988 Th e Mary Tyl er Mo ore Show
Book Reviews
All In The Family: On David Morley's Family
Television: Cultural Power and Domestic Leisure
(London: Comedia, 1986); and Philip...
View articletitled, All In The Family: On David Morley's Family Television: Cultural <span class="search-highlight">Power</span> and Domestic Leisure (London: Comedia, 1986); and Philip Simpson's (editor), Parents Talking Television (London: Comedia, 1987)
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for article titled, All In The Family: On David Morley's Family Television: Cultural <span class="search-highlight">Power</span> and Domestic Leisure (London: Comedia, 1986); and Philip Simpson's (editor), Parents Talking Television (London: Comedia, 1987)
Journal Article
Powers of Vision, Visions of Power
Available to Purchase
Camera Obscura (1988) 6 (3 (18)): 106–119.
Published: 01 September 1988
...Dana Polan Gilles Deleuze, Foucault (Minneapolis: University of Minnesota Press, 1988) Copyright © 1988 by The Johns Hopkins University Press 1988 Powers of Vision, Visions of Power
Dana Polan
Gilles Deleuze, Foucault (Minneapolis: University of Minnesota Press, 1988...
Journal Article
Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival
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Camera Obscura (2021) 36 (1 (106)): 127–153.
Published: 01 May 2021
.... This article shows how Varda and 50/50 en 2020 explore social, institutional, and economic factors that may influence women's access to the highest levels of artistic success. Their actions articulate a gendered investigation of cultural institutions and the relations of power they represent, focusing...
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View articletitled, Agnès Varda and Le Collectif 50/50 en 2020: <span class="search-highlight">Power</span> and Protest at the Cannes Film Festival
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PDF
for article titled, Agnès Varda and Le Collectif 50/50 en 2020: <span class="search-highlight">Power</span> and Protest at the Cannes Film Festival
Image
In a segment directed by Paula Jones, Mere draws spiritual power from her N...
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in Toward a Feminist Fourth Cinema: Waru (2017)
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2023
Figure 1. In a segment directed by Paula Jones, Mere draws spiritual power from her Nanny's tokotoko stick and simultaneously galvanizes the women of her community, who gather around her as she confronts her abuser. Waru (2017)
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in No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2024
Figure 9. The powerful voice of Marina (Daniela Vega) steals the spotlight. A Fantastic Woman (dir. Sebastián Lelio, Chile, 2017)
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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
Sense and Subjectivity
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Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... and nonsight in the context of war in Southeast Asia, illuminating the contradictions of representing Cambodian history and “seeing,” or apprehending, trauma and memory through cinema. I trace the connected, if not commensurate, powers that seek to make sense of their senselessness, their blindness. First, I...
Journal Article
The Organization Woman behind The Man in the Gray Flannel Suit
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Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
... with more motivation, vision for the future, and sense of personal and domestic power than her husband. This article explores the complexities of Jones's star image in 1955–56 through a series of production memos authored principally by her husband, producer David O. Selznick. To a certain extent, writer...
Journal Article
Slips, Breaks, and Tangles: Creative Collaboration and the Aesthetic Process of Trans-Subjectivity
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Camera Obscura (2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
...April Durham As a form of creative practice, collaboration holds the promise to extend capacities, challenge hierarchies, and create new forms of community. At best, however, it is a fraught experiment frankly characterized by discord and strife, often reinstating the same power dynamics it seeks...
Journal Article
Violence and the Gaze in Catherine Breillat's Fat Girl ( À ma sœur! )
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Camera Obscura (2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
... surrounding these films rather than on their structure and the radical politics of the gaze they enact. Fat Girl depicts shocking and violent material as a means of critiquing the underlying structural violence that the director believes determines gendered power relations. Breillat's films have been...
Journal Article
No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman
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Camera Obscura (2024) 39 (1 (115)): 157–188.
Published: 01 May 2024
...Figure 9. The powerful voice of Marina (Daniela Vega) steals the spotlight. A Fantastic Woman (dir. Sebastián Lelio, Chile, 2017) ...
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Journal Article
Watching Women: Surveillance and Spectatorship in Early Science Fiction Television
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Camera Obscura (2024) 39 (1 (115)): 35–61.
Published: 01 May 2024
... of television's visuality and liveness to impose visibility on its viewers. Early episodes of Tales of Tomorrow , The Twilight Zone , and The Outer Limits expose anxieties about the power of television as a surveillance mechanism to enact control over audiences. Formally and narratively, these episodes complicate...
FIGURES
Journal Article
Interfaces of Identity: Oriental Traitors and Telematic Profiling in 24
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Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... media technologies. Technophilic television programs like 24 , which create pleasure out of paranoia and dramas out of identification, employ digital special effects sequences like FRSs to demonstrate the power of both cinema and science to reveal hidden identities. These identities are often racialized...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
...Ara Osterweil In an era of motion picture history that forbade the representation of explicit adult sexuality and interracial romance, the appeal of Shirley Temple's innocent yet erotic persona was instrumentalized by the film industry as an important box office draw and powerful ideological weapon...
Journal Article
Recycled Wounds: Trauma, Gender, and Ethnicity in Keren Yedaya's Or, My Treasure
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Camera Obscura (2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... argue that Or, My Treasure is a critical Mizrahi feminist film that exposes the hegemonic social gaze as a political mechanism of power and violence that terrorizes the Mizrahi female body. The ethnic, class, and gender oppression of the Mizrahi female subject creates a traumatic experience...
Journal Article
Show Me Yours: Cyber-Exhibitionism from Perversion to Politics
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Camera Obscura (2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
... the panoptic authority of power. In their integration of writing and images, self-display and participation, present-tense transience and persistent traces, cam sites and other organized forums for cyber-exhibitionism materialize today's archival conflicts between visual and textual control, between...
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