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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2000) 15 (1 (43)): 163–191.
Published: 01 May 2000
... 43-5, 162-191 6/7/00 11:56 AM Page 163 Bahram Bayzai’s Maybe . . . Some Other Time: The un-Present-able Iran Negar Mottahedeh In a paper given in Paris and published in Iran-nameh’s special...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 63–91.
Published: 01 May 2017
...Jaime Brunton This essay analyzes The Artist Is Present , Marina Abramović's heavily mediatized 2010 performance at New York's Museum of Modern Art, through the lenses of Freudian and Deleuzian concepts of masochism. It specifically focuses on how the masochistic tendencies of this performance may...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 76–91.
Published: 01 May 1992
... propose to conflate the role of the academic analyst This paper was presented at the Brisbane Center for Psychoanalytic Studies conference,“Psychoanal- ysis, Perversions, and the Cinema” in September, 1991. 78 (she who reads and interprets the text, in this case, the film) and the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 165–175.
Published: 01 December 2016
...Liz Clarke; S. Topiary Landberg In this article, the authors argue that the 2013 omnibus film Valencia: The Movie/s (US) presents a unique approach to collective filmmaking in its adaptation of Michelle Tea's queer coming-of-age memoir Valencia (2000). This approach creates a sense of cultural...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 145–153.
Published: 01 September 2012
...John Greyson This article presents case studies of two recent Toronto actions protesting Israeli apartheid, as seen through queer eyes: the 2009 Toronto Declaration, a petition with thousands of signatures that condemned the Toronto International Film Festival's (TIFF) collaboration with the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 141–151.
Published: 01 December 2016
... videos demonstrate open forms that are produced through and resonate with these individuals' collective participation. Presenting both the catastrophic situation of contemporary society and utopian aspirations, the videos present the “space of the common” that is made by participants' performative...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 185–195.
Published: 01 May 2019
...Michael Mazière This essay tracks the development and production of a series of interconnected projects revolving around the work of Chantal Akerman between 2013 and 2016 in London involving retrospective screenings, in-person presentations, symposiums, a major exhibition, an international...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 63–93.
Published: 01 December 2011
... the present. The masturbatory quality of performance documentation and porn is characterized by self-pleasure and a plentitude of affect. It also involves the structuring of a present performance in relation to the fantasy of a previous performance that is viewed in a technologically mediated form of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
...John Belton This essay looks at the relationship between the two narrative registers of Max Ophüls's Lola Montès (France, 1955)—the staging of circus attractions in the present and the repeated flashbacks to the past—in terms of the way in which the circus exploits Lola's associations with...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2018) 33 (3 (99)): 1–19.
Published: 01 December 2018
...Hester Baer; Angelica Fenner Setting the stage for this special issue of Camera Obscura , the introduction makes the case for German cinema as a renewed site for the theorization of women’s film authorship and feminist film production today. German cinema presents an especially generative case...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... contemporary life, the deployment of coincidence in Talk to Her also presents the negative potential of such enfolding. In contrast to the overt imperative to “talk” in its title, the film in effect uses the narrative logic of melodrama to traffic in secrets and to develop eloquent modes of silence. © 2008...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... maintained instead in a circumscribed arena in which women's film is allowed to speak about women but not about film. More specifically, The Watermelon Woman both presents and represents the negotiations, mediations, and tensions triangulated among dominant film history, white feminist film studies and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 1–33.
Published: 01 December 2008
... present within the films. Placing these analyses within a critical framework drawn from postcolonial, feminist, and spatial theory, the article explores the possibility that the concerns of contemporary Palestinian cinema, while varied, might offer an exciting forum through which postcolonial gender...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 141–166.
Published: 01 September 2008
...Kenneth Chan By first looking at the gay consumption of melodrama, this essay presents the notion of tears as a political trope to negotiate the reclamation of crying from being a signifier of gendered/sexual “weakness” to one of tactical empowerment, a tactics of tears. Gay political readings of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 67–107.
Published: 01 May 2009
... trademark, the present essay argues that anxieties about the media exposure and commodification of white women that saturated the legal texts of media privacy were correlative to the spectacular forms of exposure and commodification of black subjects routine in the era's commercial print culture. This...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
...Raz Yosef This article explores the relationship between trauma, gender, and ethnicity in the Israeli film Or, My Treasure (dir. Keren Yedaya, Israel/France, 2004). The film presents a few routine days in the life of Ruthie, a Mizrahi (Jews from Arab countries) prostitute, and her daughter, Or. I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
... the end of the analysis Blade Runner still deserves the qualifier canonical —as so many university courses presently attest—it will have less to do with the film's ability to be explained through the artifact of postmodern theory than it will with the film's serving as an index of the demise of the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
... 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 the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 1–27.
Published: 01 December 2011
... attempted, by working-class women, feminists, and lesbian and gay activists. Eschewing recognition of such complexities, the narrative drive of the film relies on a temporal and spatial transition that places familial reconciliation in a postconflictual present and in a location far removed from the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
... cinema, while the love-addicted hero Christian relies on the sentimental codes of Bollywood masculinity. Our task in this article is to archive these less-visible debts and to query the logic of the absent/present form that Bollywood takes in this film, appearing as style but remaining obscure as...