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Journal Article
Camera Obscura (2016) 31 (3 (93)): 5–33.
Published: 01 December 2016
... impacted feminist organizing in Canada. The author argues that the lack of primary and secondary records of these collectives represents a significant gap in historical memory on several levels, signaling the forgetting of a moment when technology, public broadcasting, and feminist activism merged. As both...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 1–39.
Published: 01 September 2010
... assumptions about those products' primary users. Michel Foucault's theories of governmentality and disciplinary technologies are also employed to understand how the micropolitics of gendered product design connect with the macropolitics of social control. Building on feminist technology research, this study...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 1–33.
Published: 01 December 2011
... in her film. Yet despite Coppola's prominence as a contemporary maker of style, her insistence on her primary role as maker of movies invites us to read her interpretation of the life of the Austrian dauphine as a commentary on her own experience as a contemporary woman filmmaker, one that has proven...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 142–153.
Published: 01 December 2020
... campaign with no evidence of its primary goal of dividing production support evenly between men and women by 2020 being within reach. I show that the notion of Sweden as an egalitarian haven obscures remaining injustices, norms, and, not least, the equality program’s lack of intersectional analysis...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 42–65.
Published: 01 May 1981
...- cular films, between the primary and secondary processes (= a study of the degrees of secondarization). This also involves the ways in which condensations and displacements intervene in the textual gen- eration of film: it is easy to point to their existence, and to offer a few...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 248–252.
Published: 01 December 1989
... Copyright © 1990 by The Johns Hopkins University Press 1989 248 gender hierarchies. Furthermore, women have the primary interest in and access to issues that concern women, for example, our own position as spectators. No one can or should speak for us; the body of writing...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 6–29.
Published: 01 May 1981
... theory of filmic figuration. A good example of this blend of theory and self-analysis can be seen in his “jackhammer” anecdote from section 1, “ ‘Primary’ Fi- gure, ‘Secondary’ Figure” (pp. 192-194 As in Freud, the elements of the interpretation arise from his theoretical formulations and...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 199–204.
Published: 01 December 1989
... Antonioni’s earlier works, particularly the switch from a female character as center of consciousness and primary site of identification to a male protagonist, and the narrative, stylistic and thematic changes that followed as a consequence. Two years later Beverle Houston and I began to collaborate...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 30–41.
Published: 01 May 1981
... in the analysis of the cinematic signifier, since from all evidence, films have always 33 been considered the primary object of study within the cinemato- graphic apparatus. Metz’s reasoning however is important not only because it provides a suture between the “old” linguistically-oriented...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 166–172.
Published: 01 September 2007
...Julie Levin Russo Camera Obscura 2007 Julie Levin Russo is a PhD candidate in the Department of Modern Culture and Media at Brown University. Her primary research interests include TV/Internet convergence, online fan communities, and cybersexuality. Hairgate! TV’s Coiffure...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 6–11.
Published: 01 September 1995
... Ward Williams, among others, in order to look at the production of visual images of Black Americans. Of primary interest to Cooks is a critical analysis of representations of Black people within visual culture, most particularly painting. Cooks focuses on how mostly Black women...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 71–75.
Published: 01 May 1976
... primary concerns: the uncertain relation of public act to personal fate, the ever-present pos- siblity fordisparity between publicdirectedconscienceandprivate will. Having just put your check to Amnesty International in the mailbox, you are mugged or discover you have cancer or perhaps...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 168–194.
Published: 01 September 1990
..., beginning with a detour around the usual and pejorative sense of narcissism as “self-love” for an account of narcissism as a fundamental (“primary”) and identificatory relation of the ego to the other, that grounds both sexual difference and social identification. For Freud...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 142–147.
Published: 01 December 1989
... and the Masquerade: Theorizing the Female Spectator” (1982), 144 and despite the fact that this essay uses as its primary examples in- stances of the woman’s film, it doesn’t make any sense to discuss the female spectator, in a text based analysis, outside of the questions of...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 246–248.
Published: 01 December 1989
... women who have had their consciousnesses raised by (a now almost repudiated as post-) feminism in a world that retains 248 gender hierarchies. Furthermore, women have the primary interest in and access to issues that concern women, for example, our own position as spectators. No...
Journal Article
Camera Obscura (1992) 10 (2 (29)): 224–232.
Published: 01 May 1992
..., each approximately an hour long, make limited use of the potential for interactive technology. Instead, they are designed to be easy for patients to operate and seem familiar as a technology while accomplishing two primary goals: tailoring the information to the...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 49–65.
Published: 01 September 1995
... individuals with whom she is interacting. While the relationship between Battle and Delacroix is primary, Sweet Justice features a secondary narrative involving Battle and a young female African American attorney who works for her. Reese Dalkins (Cree Summer, formerly Freddie...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 89–106.
Published: 01 December 1984
... balance between the figural and the dis- cursive. It signdies what constitutes this shift and in what different way it is neutralized. The zone of this break appears as a privileged moment where the primary processes in the Freudian sense, a space of desire, emerge in the secondary...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 80–94.
Published: 01 September 1988
... imaginary, a longing for re-fusion with the Mother. Finally there is a return to the spectator: H for O'Hara things are happening at the level of primary identification, for the male spectator, identifying with him, they happen as secondary identification. The male spectator...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 2–33.
Published: 01 September 1977
... cinematic signifier Metz shifts the grounds of all previous discussionsof the processesof identification in film, maintaining that the primary identification (primary in terms of importance in relation to the subject-effect, that is) is not with the char- acters on the screen but with...