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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 7–35.
Published: 01 May 2009
... Control and Freedom: Power and Paranoia in the Age of Fiber Optics (MIT Press, 2006), and co-editor (with Thomas Keenan) of New Media, Old Media: A History and Theory Reader (Routledge, 2005). She is currently working on a monograph entitled Programmed Visions: Software, DNA, Race (forthcoming MIT...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2002) 17 (1 (49)): 31–71.
Published: 01 May 2002
...Alice Maurice Camera Obscura 2002 Alice Maurice received her Ph.D. in English from Cornell University. The essay in this issue of Camera Obscura forms part of her dissertation on race and realism in early-twentieth-century cinema and literature. She is also associate producer of A Healthy...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2002) 17 (2 (50)): 109–153.
Published: 01 September 2002
... them in film and visual media) and an essay on body transformation in early cinema. An alien spaceship hovers over New York City in Independence Day (dir. Roland Emmerich, US, 1996). Spectacles of History: Race Relations, Melodrama, and the Science Fiction/Disaster Film Despina Kakoudaki...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2004) 19 (2 (56)): 47–73.
Published: 01 September 2004
..., US, 1994) Diva Traffic and Male Bonding in Film: Teaching Opera, Learning Gender, Race, and Nation Charles I. Nero In the influential Between Men, Eve Kosofsky Sedgwick points to “male homosocial desire” as the potentially erotic “continuum between homosocial and homosexual” that is...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
.... Histories of The Watermelon Woman: Reflexivity between Race and Gender Catherine Zimmer Twelve years after the release of Cheryl Dunye’s The Watermelon Woman (US, 1996), the film remains the only feature-length film made by and about an African American lesbian to have received...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 1–5.
Published: 01 May 2009
...: Bringing Race and Media Technologies into Focus Lynne Joyrich The term camera obscura derives from the Latin “dark chamber.” A darkened enclosure with a small opening through which rays of light can pass, projecting an inverted image, in “natural color,” of whatever opaque body faces the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
... race discourse and the visual representation (or elision) of the face. As the most reproduced visual sign on the Internet, the face continues to operate as a threshold to public space. Facebook, the largest social networking site with more than 80 million registered members, has uploaded more than 4...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 67–107.
Published: 01 May 2009
... same era. The reconfiguration of privacy is also linked to how race, gender, and class are articulated visually in nineteenth-century media culture. Thus drawing on histories of photography and consumerism, legal history, and cultural theory, as well as on the visual archive of the original Aunt Jemima...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 177–207.
Published: 01 May 2009
...Beth Coleman Is it possible to think of race as a disinterested object of our delight, as opposed to one that is overinscribed? Can race survive as something other than the remnant of a traumatic history? In this essay, I ask the reader to consider race as technology. This proposition moves race...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
...Zahid R. Chaudhary This article aims for an account of materiality that helps apprehend race as a material reality while attending to its semiotic, aesthetic, and cultural signification. Through a close reading of Alfonso Cuarón's film, Children of Men (UK, 2006), the author argues that allegory...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1992) 10 (1 (28)): 262–289.
Published: 01 January 1992
... Franiaise). Those Who Squat and Those Who Sit: The Iconography of Race in the 1895 Films of Filix-Louis Regnault Fatimah Tobing Rony Explorers do not reveal otherness. They comment upon “anthropology,” that is, the distance sepa...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1995) 12 (2 (35)): 6–23.
Published: 01 May 1995
...Grant Farred Copyright © 1995 by Indiana University Press 1995 Boyz N The Hood (John Singleton, 1991) No Way out of the Menaced Society: Loyalty within the Boundedness of Race Grant Farred Where there is an actual arc of rising violence, as...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2000) 15 (1 (43)): 45–93.
Published: 01 May 2000
... Culture (1993), edited by Paul Smith and Lisa Frank. CO 43-2, 44-93 6/7/00 11:58 AM Page 44 Maude, “Maude’s Musical,” CBS, 1973. CO 43-2, 44-93 6/7/00 11:58 AM Page 45 Quality versus Relevance: Feminism, Race, and the Politics...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2015) 30 (2 (89)): 89–123.
Published: 01 September 2015
...Diana Adesola Mafe This article argues that the 2013 first-person shooter (FPS) video game BioShock Infinite (2K Games) challenges gamers in its representations of race. Launched in 2007, the BioShock franchise has a reputation for thoughtful dystopian narratives, beautiful retro worlds, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 1–37.
Published: 01 May 2011
... democratization, proponents argue, negates and thus frees us from the embodied particulars of race, ethnicity, gender, and sexuality. This perspective is rooted in and reproduces neoliberal assumptions about bodily transcendence and freedom. Drawing on several Asian American and British Asian blogs, Pham analyzes...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
...Anthony Reed This article situates Spike Lee's neglected collaboration with Suzan-Lori Parks, Girl 6 (US, 1996), as part of a broader shift in Lee's understandings of race in the neoliberal era. Its main character, simply called Girl 6 (Theresa Randle), aspires to be an actress, but after a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
... rhetoric of value, proposing that the “pretty” as a recurrent taste category in film reveals an imbrication of gender, sexuality, and race in the construction of the cinematic image itself. Analysis of the pretty's antecedents in histories of art demonstrates how colonial and patriarchal modes of aesthetic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... political implications of such technologies and their different effects on gender or sexuality and race. I situate the story's speculations in relation to contemporary developments in cognitive science, especially in evolutionary psychology, as those scientific disciplines redefine the basis for...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... of black manhood. That is, the tape facilitates our understanding of how performances of race, gender, sex, and sexuality are equally induced by subject as by spectator. The tape not only speaks to the constitutive links between authenticity and spectatorship that pornography reveals but also to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 1–31.
Published: 01 September 2011
... the film's critical test of realism — both cinematic and identitarian. This essay argues that failure to achieve recognition under the normative presumptions that underlie our understanding of formations of both nonfiction and race/sexuality is arguably the source of the film's most productive tension...