Skip Nav Destination
Close Modal
/10.1215_02705346-9561409/2/s_cob9561409figure1.png?Expires=1728987681&Signature=gUR03Lr1EtqBP6L6pFFA5o5o3fRCO57hLkPleXj5ZJ97exr0AVLy2Vwnb866RKlq7XS3khRmNk7BlAXgF-GSrkFBlzfna4OPbqFa3MntaCIHuBW43McBQpo9fXK2gyO62p3lK~UBc~-7a5j8A2njxmjW~RSKvp0z5GqrybqLbSiQMab-i~UETensuvr~7h-JWFeAB9CQYUjAj~w5Q~Vh~UDdipoYzyH8zzpP2BwGQ6rw7ifrcl~JyJ7Tt0GHXc1qd115T5h17ShyfFuy83wMXbT0un2gBQrtRR9xkXgcXKJkKr5OeTSQ-jc6u8~DbHtKIBLIAynWTmRKRJiNi-bc0Q__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_02705346-9561409/2/s_cob9561409figure2.png?Expires=1728987681&Signature=k-JCMwfwEtgyeqDX7tm0pGZpE5VGk-NjAsBI4r71mmWMOol47iog8z~DfGb-aMr8llj3CyK9O1V2ztzrcNYLUTZ3O3oeEoy0RS53ddmQ2mex09duaRWH8zCwW92tpxFblcPQQM-m-fXS-l6dI0fNmG8rrYy~JQBm1KQfY7aVquSLJmf5f-wbLnevqa2pb7iOq~G0i4NWWGpKtARnYnD92s--LRbQCmJV8xgHZtwEd-Yw5Y-SNHK4uvC6nF2VGvbadqf4nZA0PKm~PESnEQm-~nPWbJCy~Z5F6OSTC0pZH-xyKpSRMnIoXxPvazXyw5uS7WseyKQK7vPKIKIu-Hv38w__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_02705346-9561409/2/s_cob9561409figure3.png?Expires=1728987681&Signature=KeTA5r7qV525QiMlqZaAhbIgRxZAeCAIQz9EZ9yt~6Lqv3hiqAdrt1XOuZu4bhXcsd7DfbpKA0YSHX1ITiPJqhCbG0SSg~j0nf4Gz4lx~MaZSOeBAgJbg2REhDRV8s5mat0yteBGmPyFlMrLW2xbimzJM814EAOjSkiilJ5RMPOCxog3BkyA5uA~W~Ym0sUDA~0jFSHGSgk0n2w6jNKxKBdMfM1gPO1bc5OgI-y3REKvpljsIKuojsVmY4X8NDnbXORWM4BFIBs3g0IdiGC8pez-Wvv4tRb2lWT0j~s13YFlsT9fFpsKor~2dvPwBeDX7Omc96ivrfRtpFUQxRGkcQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_02705346-10278628/1/s_cob10278628figure1.png?Expires=1728987681&Signature=dt8XbSrOp-9uP1RSl4biNd378QnnGzGLg-MeoErEE16APEk7GGrgzx1nUT~JI6mbXEOd5WQFjY721QwKZiU2hduc8-xTZh4CA12oa0OemYBNbvqIvfiBf5cOSsMf1vTaqNKqm3zO71DLYqUybo-k4g~44WLryuRcfxDIUbAX~TFpzZ3QRlnH3B8w7fsro0tUikVbePfXXS8e8OtfyMOhQ2AmBPfZ-rth11KwTFKofQb4EQsOFX9z78Z4~cGvCDjm13QZshukKcmJgUGBZbF6PJqLLtgeg1e74ie3Ny3675i-lFI7T-1~Co3EcBh9KCQ~qd3DWkaTf5ESfOJAbyajRw__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_02705346-10278628/1/s_cob10278628figure2.png?Expires=1728987681&Signature=htVS74MUVaIy59iMxrKVjmp4vJoXp9e8GakqU3NDvAWs-icXoBQAldB~QycKs4PziVJlxOkSGeJNcuT30qakvkZAh3tdSO8BINMQ2slr2nfO23Y0yi2i8XyPGG5g~-afXGAWzUrWY6vDNhbp5sbGxq3Djqi0POHGN6r1nTJrCR0Q9sK1njYrYAJc3uvhW5rUPjnyniCxZ~ED5e6BJhdiz4yMNDAdt6fSpZXuu0pDd~RFJyPjL3h4rcS8wEP7owI9NR-OnFpXzufIpNMlpBL3V9krYo2IbRkDPaBacoT1VCJc9J3FBFzi0YFsx9X2MFvhfIOT4jgLtYfmna-HE0-8Lg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_02705346-10278628/1/s_cob10278628figure3.png?Expires=1728987681&Signature=gTeLrT~nkDwAQ9vJkJfvIqIanOkY6q~3p4LWtTEkKB2XE5ddOyXvTtPfu3UaV4NSTKDPtHfVTRAtFkli~RATspVdiBumdj-i-3C5m93tE8-6lJ4vfTQZXZBDNqZtdDreW6vCzYzTkxHlxsuTPHp0dYII5-t~UqDRR2mhSEsw3Z68GRLH6vkE0mZsG3pjO74ty3nX-NZY0t2iyW-VSpKqX9WuBIn1I6JShCdjAJOYs1qrzWzvBOoSuGLXFEeZ0JXj15yGZZWQvDz8F6Z6CME2StuVwgG~IuudMIoBAbOZSVpjA60dePFu02r5lgprW7hYO~29yHkvoUiBtnUvnja~gA__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
1-9 of 9 Search Results for
psychodrama
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
Journal Article
Camera Obscura (2022) 37 (1 (109)): 31–59.
Published: 01 May 2022
... with repairing communication between white factory foremen and black men who were labeled the hard‐core unemployed, Greaves combines the documentary style of cinéma vérité with psychodrama, a group therapy method that uses theatrical techniques of role‐play and reenactment to both reveal and treat social...
FIGURES
Journal Article
Camera Obscura (1991) 9 (3 (27)): 166–173.
Published: 01 September 1991
... woman’s death and her Green Beret fiance 173
(Tony Young) who seeks revenge. If only he had been this effective back
in Nam.” Leonard Maltin’s Film and Video Guide (New York: Penguin
Books, 1984).
6. The last of these, The Ninth Configuration, is a psychodrama that takes
places...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
...-
consciously as a phallic representation capable of engendering primal
fears of bodily damage, castration, and even death.
111. An Acoustic Psychodrama
I Married an Angel (1942) makes explicit the destructive potential
embedded in MacDonald’s soprano. Numerous factors...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 133–163.
Published: 01 May 2023
..., “Structures of Feeling,” Siona Wilson argues that this newly developing “political aesthetic” can already be gleaned in Rainer's 1974 Film About a Woman Who. . . . At the time of its release, critics dismissed the film due to its lack of political radicality, deriding it as a “bourgeois psychodrama.” 15...
FIGURES
| View All (10)
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 274–295.
Published: 01 September 1991
... by registering as our
280 personal reactions, both on the level of “private” psychodrama, and
on the level of affective shocks-disgust or horror.
. Besides acting as a Lynch signature, “shock” short-circuits analysis,
which may account for the general critical silence about...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
... of the erotic production. His work has been championed
by Noël Burch as a “deliriously transgressive” example of primi-
tive avant- garde that gives “no concessions to the slick imagery of
commercial erotica,” and dismissed by Donald Richie as “embar-
rassing soft- core psychodrama.”15 While...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 42–75.
Published: 01 May 1994
...’ confessions, personal psychodramas, and the private musings of
private investigator Veronica Clare. In Confessions of Crime and The Hidden
Room subjective experiences were aesthetically indicated through special
effects. Both programs employed s& opening sequences-a montage
featuring shots...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... not
begin with a point-of-view shot taken from a moving hospital gur-
ney, we would likely find ourselves cued into psychodrama when
the camera leaps forward to frame an extreme close-up of other-
wise benign objects like a household buzzer, an alarm clock...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 41–74.
Published: 01 September 1993
... of the
word “nigger,” a term that the film keeps in volatile circulation. But
this sequence also evokes the director-as-auteur, his persona for the
press. In an interview with Lisa Kennedy, Tarantino locates Harvey
Keitel in his personal psychodrama: “the father I never had.”8
Speaking as auteur...
