... Copyright © 1979 by Camera Obscura 1979 Excerpts from an Interview with The Legend of Maya Deren Project The Camera Obscura Collective The Legend of Maya Deren, a three-volume documentary biography of the late filmmaker, writer and ethnologist, is being...

...Jinying Li This article examines the Folk Memory Project, a collective documentary initiative in China that organized young filmmakers to return to their home villages to interview elders and unearth silenced memories of the devastating Chinese Great Famine of 1959–61. Focusing on two films...

...Lynne Joyrich; Misha Kavka; Brenda R. Weber This introduction to the special issue “Project Reality TV” interrogates, while also playing with, some of TV's forms and conventions, particularly those of the “preshow special” and the interview format. Borrowing from this format, it explores key issues...

...: (Cross-)Cultural Projection, Spectatorship, and Iranian Cinema Lindsey Moore This article addresses the entwined issues of gendered and cul- tural representation in contemporary Iranian cinema. One of the remarkable features of recent Iranian film is its allegorical use of gendered...

...David Crane Burt Lancaster and Barbara Stanwyck in Sorry, Wrong Number (dir. Anatole Litvak, US, 1948). Courtesy Academy of Motion Picture Arts and Sciences Projections and Intersections: Paranoid Textuality in Sorry, Wrong Number David Crane Plots originate in knots, and knots...

...Novid Parsi Projecting Heterosexuality, or what do you mean by "it"? Novid Parsi It seems self-evidently true enough to say that often, and nowhere more often than in popular Hollywood cinema, homosexuality is figured ambiguously; indeed, that the homosexual is represented...

...Hanna Kuusela This article investigates collaborative and crowdsourced online writing projects and the economies surrounding them. It describes the conjunctures between collective creativity and contemporary economic regimes and introduces the concept of the promise economy. The article discusses...

...Sabrina Barton Copyright © 1991 by The Johns Hopkins University Press 1991 “Crisscross”: Paranoia and Projection in Strangers on a Train Sabrina Barton Isn’t it a fascinating design? You could study it forever...

...Ariella Azoulay The growing literature and catalogs on photographic collaboration, participation, and collectivity, which are part of the proliferation of artistic projects that assert collaboration as their goal, still mainly focus on photographers who initiate collaborative projects. The...

...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...

...Catherine L. Benamou; Bienvenida Matías This is part memoir, part historical reflection on the creation of “Punto de Vista: Latina,” a transnational distribution and local exhibition project of films by and about Latinas during the reorganization of Women Make Movies in the early 1980s. The...

...Anjo-marí Gouws Anne Charlotte Robertson’s Five Year Diary (UK, 1982) is a multimodal project that comprises cinematic, written, audio, and food diaries that span almost forty years of the artist’s life. This article focuses on how gendered labor gets taken up in the diary project and contrasts it...

... a reading of Born into Brothels , an award-winning film documenting the codirector and photojournalist Zana Briski's humanitarian project to emancipate the children of prostitutes in India by training them in photography and creating avenues for them to sell their own photographs of brothel life. A...

... Times Magazine ): competition series, such as Project Runway (2004–) and Top Chef (2006–), and docudramas, such as Flipping Out (2007–), The Rachel Zoe Project (2008–), the Million Dollar Listing franchise (2006–), the Real Housewives franchise (2006–), and many others. Bravo seems to exemplify the...

... experiences in her art practice and building on the tradition of artists who play with the construction of identity. Radha May's work explores forgotten and hidden histories, peripheral sites, and feminine myths. The interview explores her latest project, When the Towel Drops, Volume 1, Italy (2015), which...

... the title term, “female sensibility,” and its twin concept, “female imagery.” Through its irony, Benglis' work in turn poses larger questions about the production and consumption of female sexual imagery by women artists: how does an artist project herself into her work? How does she define her...

... nudity, it contributes to a long-standing obsession with revealing a person's interiority through the translation of embodied signifiers. Modern technologies, and the cultures of self-display they have fostered, offer up new methods of achieving what more self-consciously empirical projects have always...

... possibility of aligning their work with the vision of a postcolonial feminist project remains, to an extent, contested. Camera Obscura 2008 Anna Ball is a lecturer in postcolonial studies at Nottingham Trent University. Her research is concerned with the possibility of building a nuanced...

... projected through mobile exhibition on city buildings, and Eli Rezik's online “web-movies” Living Alone without Me (Palestine, 2011) and Between Us Two (Palestine, 2011) compelled a panel discussion of alternative means of distribution and exhibition. Finally, Alaa AbuAsad's Masturbate bil beit (Palestine...

... video projects invite audiences to continue exploring multiple definitions of survival, hybridity, and cultural transformation, reanimating characters sacrificed in the series on its way to genetic utopia (or dystopia) and thereby resuscitating the multiple, queer, contradictory futures they embodied...