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Image
Published: 01 September 2021
Figure 1. Robert Haller, Portrait of Carolee Schneemann (1978). Photographic print, Carnegie Museum of Art, Pittsburgh. © Robert Haller. Made available by permission. Photograph © 2021 Carnegie Museum of Art, Pittsburgh More
Image
Published: 01 December 2022
Figure 5. Digital print on watercolor paper produced in Microsoft Word, edition of 5, 22 × 17 in., 2020. Courtesy of Shaheer Zazai More
Journal Article
Camera Obscura (2019) 34 (2): 195–207.
Published: 01 September 2019
... depict printed matter from the postmodern period that include photographs of female models posed as if they are shooting playful self­portraits in a mirror, acting as if they are themselves the photographer. Taking Collier’s work as evidence, this essay asks questions about how and why the selfie is so...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 29–55.
Published: 01 May 2018
... manifest as unreadable noise, interventions on the print page that produce a technological feminine. Situated alongside ANT (actor-network theory), media theory, and cyborg feminism, the technological feminine gestures at the limits of these attempts to de–black box media, insisting on an irreducible noise...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 11–39.
Published: 01 May 2015
... analyzing not only television but also online media and print and digital tabloids and the audience discourses involved with them. It further argues that transmediation incorporates gender and sexuality as well as media. In this, the body also functions as a medium, simultaneously grounded in materiality...
Journal Article
Camera Obscura (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...
Image
Published: 01 May 2021
Figure 9. Pablo Picasso, Bowl of Fruit, Violin, and Wineglass (1913). Charcoal, black chalk, watercolor, oil paint, coarse black wash, and collage of printed and colored papers on board, 25 11/16 × 19 3/4 in. © 2021 Estate of Pablo Picasso / Artists Rights Society (ARS), New York More
Image
Published: 01 December 2023
Figure 4. Sample Book, Standard Color Card of America, 9th ed.; label: board covers, printed cardboard pages, silk samples; H × W × D (closed): 26.5 × 15.8 × 4.8 cm (10 ⁷⁄₁₆ × 6¼ ×1⅞ in.), H × W × D (open): 26.5 × 51.4 × 3.2 cm (10 ⁷⁄₁₆ × 20¼ ×1¼ in.); gift of the Color Association of the United More
Journal Article
Camera Obscura (2007) 22 (3 (66)): 171–178.
Published: 01 December 2007
... flm prints. The frst wound to which I refer relates to the banishment of women from the silent-flm industry that they helped to establish, a question of gender economics that needs to be revisited. The second gaping hole is a consequence of the frst but of a different order. Con- demned...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 157–175.
Published: 01 May 1979
... in films by women but having strong collec- tions of interest to women were sent the same questionnaire. The answers we received are printed verbatim. The essential differences between the distribution companies listed below are few. Though some are structured as collectives and others run...
Journal Article
Camera Obscura (1996) 13 (3 (39)): 4–33.
Published: 01 September 1996
... representational practices. The film Warrior Marks and its accompanying coffeetable print version, Warrior Marks: Female Genital Mutilation and the Sexual Blinding ofWomen, are recent examples of contemporary Euro-Amer- ican multicultural feminism in its imperializing vein as global woman- ism." Proposing...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
..., print availability and condition, and frequency of exhi- bition: The Big Knife (dir. Robert Aldrich, US, 1955), 8 1/2 (dir. Federico Fellini, Italy/France, 1963), Le Mépris [Contempt] (dir. Jean-Luc Godard, France/Italy/US, 1963), For Ever Mozart (dir...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 165–173.
Published: 01 December 1986
... Rotwang, the inventor, at his desk. A hunchback ser- vant, emerging from a spiral staircase through a trapdoor in the floor, announces: “John Masterman.” Let him wait . . . , Rotwang gestures in response. And this is how the scene continues in traditional prints. Rotwang, gesticulating...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 63–101.
Published: 01 December 2006
...Laura Shackelford Camera Obscura 2006 Laura Shackelford is a visiting lecturer of English at Indiana University, Bloomington. She has just completed a manuscript, “Tracking the Human out of Print,” which examines feminist, queer, and subaltern engagements with new media/global capitalist...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 156.
Published: 01 September 1988
...: Rediscovering the SilentFilm Era by Ivan Buder. Ungar, 1988. Breathless (directed by [ean-Luc Godard) edited by Dudley Andrew. Rutgers University Press, 1987. $12.00. Rutgers Films in Print Series. LaStrada (directed byFederico Fellini) edited by Peter Bondanella and Manuela...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 187–213.
Published: 01 May 2021
... was initially titled Ma cabane de l’échec ( My Shack of Failure ) before she renamed it for its second showing in 2009 at the Lyon Biennale as Une cabane de cinéma ( A Cinema Shack ). Ma cabane de l’échec started out as a way to recycle 35mm prints of one of Varda's commercial failures, The Creatures...
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Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 240–241.
Published: 01 December 1982
.... It includes a brief biography, a short critical overview of the work, a synopsis of each film with credits and some commentary, a near-complete bibliography of writings by and about Godard, and a filmography. As prints of Godard’s films are not always readily accessible, Lesage appends a list...
Image
Published: 01 December 2022
al-Mamalik, grandmother of myself, [Nayyir?] Mu‘ayyiri.” Inscription in the center printed in English: “Douste Mohammed Khan, Tehran.” Inscription in the right reads, “Khanum ‘Ismat al-Dawlah daughter of Nasir al-Din Shah, wife of Dust Muhammad Khan Mu‘ayyir al-Mamlik” More
Journal Article
Camera Obscura (2020) 35 (3 (105)): 132–141.
Published: 01 December 2020
... re Hank s mom. We were in Venice at the Biennale a few years ago, and about ten people said to me, You re Hank s mom. I decided to start taking pictures of people each time. When he was little, it was, You re Deb s son, so it s in reverse now. Hank often encourages me to print my old negatives...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 128–139.
Published: 01 May 1976
... of the 'New American Cinema' offered to "clean up the editing." Anne lent him a work print and got back a film that moved much faster and which had no tarnpax strings or yeast showing. This made it "a much hotter film", as she describes it, and that is not her film. Her pace is slow...