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Journal Article
Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)
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Camera Obscura (2022) 37 (2 (110)): 1–29.
Published: 01 September 2022
... performance and accented voice synchronous sound cinema interwar US cinema The 1931 Paramount production Daughter of the Dragon (dir. Lloyd Corrigan, US) belongs to the array of yellow peril thrillers that capitalized on the popular Dr. Fu Manchu series. In contrast to other Fu Manchu films...
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View articletitled, Anna May Wong and Sessue Hayakawa: <span class="search-highlight">Racial</span> <span class="search-highlight">Performance</span>, Ornamentalism, and Yellow <span class="search-highlight">Voices</span> in Daughter of the Dragon (1931)
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for article titled, Anna May Wong and Sessue Hayakawa: <span class="search-highlight">Racial</span> <span class="search-highlight">Performance</span>, Ornamentalism, and Yellow <span class="search-highlight">Voices</span> in Daughter of the Dragon (1931)
Journal Article
Whitney is Every Woman?: Cultural Politics and the Pop Star
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Camera Obscura (1995) 12 (3 (36)): 134–153.
Published: 01 September 1995
... of the use of
Ella Fitzgerald’s voice to distinguish between live performance and
Memorex tape in the late 1970s. Houston’s voice resonates in a
multi-racial nation and her body stands in for a global structure of
communication across various borders. While...
Journal Article
Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations
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Camera Obscura (2022) 37 (3 (111)): 31–57.
Published: 01 December 2022
... fragmentary and performative qualities that draw attention to its own constructed nature, its sustained defiance of a distant gaze differentiates it from Buñuel's film. Mosori Monika opens with the voice-over of the nun describing her life in the village juxtaposed with images of her in her quarters...
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Journal Article
(Mis)Imagining Africa in the New Millennium: The Constant Gardener and Blood Diamond
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Camera Obscura (2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
... by speaking with
upper-class accents, which lends them a recognizable authority that
the Kenyans in the film are never afforded.
Blood Diamond, which deals with a very different postcol-
onial African setting, namely the civil war in Sierra Leone, divides
its Sierra Leonean characters...
Journal Article
The Art of Screen Passing: Anna May Wong's Yellow Yellowface Performance in the Art Deco Era
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Camera Obscura (2005) 20 (3 (60)): 159–191.
Published: 01 December 2005
...
body may stimulate fantasy and curiosity.39
Such on-screen racial masquerade can be seen as a form
of passing and, more specifically, of what I am defining as screen
passing: the hyperbolic performance of a race or ethnicity differ-
ent from that of the actor. Contrary to conventional racial...
View articletitled, The Art of Screen Passing: Anna May Wong's Yellow Yellowface <span class="search-highlight">Performance</span> in the Art Deco Era
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for article titled, The Art of Screen Passing: Anna May Wong's Yellow Yellowface <span class="search-highlight">Performance</span> in the Art Deco Era
Journal Article
Tongue Twisters: The Travelogue Videos of Ming-Yuen S. Ma
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Camera Obscura (2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
... in and
consuming gay male pornography, with an interlude about straight
women viewing gay male pornography featuring a voice- over writ-
ten and performed by Laura U. Marks;28 part , “Documentary,”
features Asian men talking about their sexual practices ( g. and
part , “Culinary: The Cooking Show...
Journal Article
Diversity Times Three: The “ Modern Family Effect” and the Privatization of Diversity
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Camera Obscura (2017) 32 (3 (96)): 33–61.
Published: 01 December 2017
... ensemble, Modern Family relationally racializes Asian American, Latinx, and Black recurring and side characters through performances of cultural capital. Their differences deviate from the sexual modernity represented by the program’s core white families. Despite the token representations of racial...
Journal Article
Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain
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Camera Obscura (2021) 36 (2 (107)): 1–31.
Published: 01 September 2021
... perspectives with production studies, film studies, and dance and performance studies, the essay unites often disconnected gendered and racial analyses of the film by emphasizing the gendered forms of labor and the multiracial genealogies through which dance is reproduced. It also shows how the guise of white...
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Journal Article
Lena Horne's Impersona
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Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... alignment with her self,
Horne achieved a reversal of the psychic positions of audience and
performer. This voice-throwing has important repercussions for
our understanding of racial and gender identifications in the mod-
ern cabaret. “In a funny way,” Horne wrote, “the audience and I
reversed...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
..., argument.”17 This
emphasis on argument tends to exclude the voices of people from
identity groups deemed overly emotional, spiritual, or material,
such as women, children, the religious, and the racialized. It also
sidelines rhetoric and storytelling as what Iris Marion Young calls
mere...
Journal Article
Thinking Travesti Tears: Reading Loxoro
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Camera Obscura (2021) 36 (3 (108)): 33–59.
Published: 01 December 2021
... and racial subject. Mía with an accent, while a common Spanish word meaning “mine,” is acknowledged in the credits of the film as Mia without an accent. Mia is an Italian name that contrasts with the Indigenous features of the character who holds that name. And yet, the film not only exposes...
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Journal Article
The Only Way Out Is In: Girl 6 , Sex Work, and the Color Line
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Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... akin to the structure of the
closet insofar as it is not clear whether the callers’ imputed desire
for whiteness and their belief in the ruse trump cultural notions
of vocal timbre or accent as racial markers. In both cases, inter
racial intimacy — safely quarantined in some imagined elsewhere...
Journal Article
In a Desert Somewhere between Disney and Las Vegas: The Fantasy of Interracial Harmony and American Multiculturalism in Percy Adlon's Bagdad Cafe
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Camera Obscura (2000) 15 (2 (44)): 151–175.
Published: 01 September 2000
... to a performativity of
race in relationship to the African American characters. Brenda’s
character changes, but her racial identity does not.
Jasmin overcomes Brenda’s mistrust with two supposedly
mutually exclusive skills that the film codes as German: organiza...
View articletitled, In a Desert Somewhere between Disney and Las Vegas: The Fantasy of Interracial Harmony and American Multiculturalism in Percy Adlon's Bagdad Cafe
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Journal Article
India's Daughter : It Is Time to Retire the Realist Rape Documentary
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Camera Obscura (2023) 38 (2 (113)): 119–143.
Published: 01 September 2023
...: The Humanitarian Impulse in Documentary (Durham, NC: Duke University Press, 2017), 8. 16. Shilyh Warren, “The Mysteries of Voice: Love and Transnational Identification in Performing the Border , The Price of Sex , and Señorita extraviada ,” Camera Obscura , no. 92 (2016): 120, 143. 17. Belinda...
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Journal Article
Bollywood in Drag: Moulin Rouge! and the Aesthetics of Global Cinema
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Camera Obscura (2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
... — for bananas, coffee, soap, shoe
56 • Camera Obscura
polish, and chocolate — and James Small has suggested that his
blackness played a central role in his commodification, even as he
helped draw racial Others into a Western market economy.66 He
was part of the influx of performers of color in fin...
Journal Article
Incestuous Wanderlust: 35 Shots of Rum 's Atmospheres of Circulation
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Camera Obscura (2022) 37 (1 (109)): 61–89.
Published: 01 May 2022
... and grandmother. Williams, “Romancing the Father,” 44–45. 45. Sarah Jane Cervenak, Wandering: Philosophical Performances of Racial and Sexual Freedom (Durham, NC: Duke University Press, 2014). 46. Dudley Andrew, “An Atlas of World Cinema,” in Dennison and Lim, Remapping World Cinemas , 24...
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Journal Article
Special Effects: Sexual and Social Difference in Wild at Heart
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Camera Obscura (1991) 9 (1-2 (25-26)): 274–295.
Published: 01 September 1991
... is all the more chilling
for the utter silence of the narrative with regard to its cross-racial
nature. In its apparent lack of concern for a racial determination of
the violence, the film invites (whether unconsciously or not, it doesn’t
really matter) the kind of glibly ironic dismissal...
Journal Article
Clueless in the Neocolonial World Order
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Camera Obscura (1999) 14 (3 (42)): 50–69.
Published: 01 September 1999
... critic Cindy Fuchs observed in
a review in the Philadelphia City Paper, "As 'teen movies' go, Clueless
is obviously, self-consciously, lightweight: there are no suicides, no
violence, no generational battles no class or money angst no
racial conflicts no sexual crises The world of the film is ideal...
Journal Article
Remembering “Punto de Vista: Latina” in Two Voices
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Camera Obscura (2013) 28 (1 (82)): 135–145.
Published: 01 May 2013
...,
dir. Valeria Sarmiento, France, 1982)
in practice: women make movies at forty
Remembering “Punto de Vista:
Latina” in Two Voices
Catherine L. Benamou and Bienvenida Matías
A Call to Rememberance
In the early 1980s, Women Make Movies (WMM) became home
to a community-based...
Journal Article
Bartmania: The Social Reception of an Unruly Image
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Camera Obscura (1996) 13 (2 (38)): 60–91.
Published: 01 May 1996
... and the manner
of expression of racial meanings around the hegemony of Reagan-Bush-
ism. Herman Gray has adeptly analyzed the indispensability of the sign
of "Blackness" for the establishment of the Reaganist hegemony, as the
Black body was constructed as the locus of "a continuum ranging from
menace on one...
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