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racial performance and accented voice

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Journal Article
Camera Obscura (2022) 37 (2 (110)): 1–29.
Published: 01 September 2022
..., “Ethnicity, Class, and Gender in Film.” 54. Miyao, Sessue Hayakawa , 41. pengxin@uw.edu Copyright © 2022 by Camera Obscura Published by Duke University Press 2022 Orientalism and ornamentalism Asian American stars racial performance and accented voice synchronous sound cinema...
FIGURES
Journal Article
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
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...
FIGURES
Journal Article
Camera Obscura (2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
.... Interestingly, the British characters in general and the protagon- ist in particular convey their class backgrounds 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...
Journal Article
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...
Journal Article
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
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
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...
FIGURES | View All (5)
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
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 (2021) 36 (3 (108)): 33–59.
Published: 01 December 2021
...-identifies as chola or india , but from the beginning their improper names mark all the travesti characters as such. Even the travesti character with a more conventional name, Mia, is marked as an improper sexual and racial subject. Mía with an accent, while a common Spanish word meaning “mine...
FIGURES
Journal Article
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
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...
Journal Article
Camera Obscura (2023) 38 (2 (113)): 119–143.
Published: 01 September 2023
...-more-present Hindu fundamentalist ideology. India has a well-established practice of banning art that expresses a counter voice to the ruling ideology. I close with a discussion of Nirbhaya , a theatrical performance directed by Yael Farber. The performance toured the world and tells the story...
FIGURES
Journal Article
Camera Obscura (2022) 37 (1 (109)): 61–89.
Published: 01 May 2022
.... 46. Dudley Andrew, “An Atlas of World Cinema,” in Dennison and Lim, Remapping World Cinemas , 24. 45. Sarah Jane Cervenak, Wandering: Philosophical Performances of Racial and Sexual Freedom (Durham, NC: Duke University Press, 2014). 44. Williams refers to Caven as both an aunt...
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Journal Article
Camera Obscura (2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
....66 He was part of the influx of performers of color in fin de siècle France who helped transform racial difference into “performative and commodified modes of spectacle and consumption”378 ( ). But historians have also noted an opposite tendency — ­erasure — ­with respect to race...
Journal Article
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
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
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...
Journal Article
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...