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Camera Obscura (2022) 37 (1 (109)): 31–59.
Published: 01 May 2022
... that Greaves's film indexes and reproduces. In doing so, it argues that Greaves's film not only documents contradictions of inclusion and recognition in the late 1960s, when the postwar ideology of racial liberalism was in decline, but it also anticipates the extractive racial politics of capitalism in the early...
Camera Obscura (2000) 15 (1 (43)): 45–93.
Published: 01 May 2000
.... But MTM and Tandem/TAT are differen- tiated by their respective alignment with the representation of gen- der politics on the one hand and of racial politics on the other. MTM productions, particularly the flagship The Mary Tyler Moore Show, have often been...
Camera Obscura (2017) 32 (3 (96)): 33–61.
Published: 01 December 2017
... political economy and liberal politics underwrites the program’s titular modernity, which celebrates its portrayals of sexuality, kinship, and intimacy as progressive, yet bases them in conservative visions of gender. While the program announces its token interest in racial plurality through its core...
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... Girl 6, Sex Work, and the Color Line • 5 to understand the film in terms of racial politics traditionally con ceived. The trade-off is a new sense of race and a politics of racial solidarity organized around the affective dispositions and modes of self-production required of those who work...
Camera Obscura (2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
...: Invisible City) creative collaboration social media trans-subjectivity social networks RSVP method racial politics © 2016 by Camera Obscura 2016 April Durham is a media scholar and visual artist working at the intersection of feminism, queer theory, and digital discourse. Her long...
Camera Obscura (2022) 37 (1 (109)): 1–29.
Published: 01 May 2022
... and early to mid-twentieth centuries, the Black press served as a cornerstone of Black social and political life in the United States. For Black Americans, newspapers and magazines functioned as both informational resources and philosophical spaces that engaged conversations of racial uplift, thereby...
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
... cultural politics that legitimates political intervention in the name of the racially marked woman, arguably the fetish object par excel- lence for the liberal discourse on freedom, in which all subjects are presumed to be autonomous agents at heart. In the words of Saba Mahmood, according...
Camera Obscura (2020) 35 (1 (103)): 109–137.
Published: 01 May 2020
... of this kill team were twenty- five- year- old and twenty- two- year- old soldiers.5 This essay centers on these two films, both of which fea- ture white women as the central protagonists in the racialized domains of war and political machinations. While disparate in tone, style, and priorities, Eye...
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
... we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past...
Camera Obscura (2012) 27 (3 (81)): 1–37.
Published: 01 December 2012
... racial systems similar to Rowling’s insis- tently replay the lessons and catastrophes of the past in dialogue with politically pressing current choices. Heroes of the Stargate franchise (Stargate, dir. Roland Emmerich, US/France, Star- gate SG- , – Stargate: Atlantis, – ) plot genocide...
Camera Obscura (2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... this essay, my discussion begins with a brief background of the tape’s controversial appearance. The first part of the essay con- siders the ways in which Hendrix’s life and career already offer a unique commentary on the racialized politics of representation. Many scholars, those...
Camera Obscura (2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... in which racial subjectivities “are not stabilized by Nature or by some other essential guarantee” but must instead be understood as “constructed historically, culturally, politically.”41 The notion of technicity can, in fact, foreground this dimension of construct- edness and, in that sense, might...
Camera Obscura (2018) 33 (2 (98)): 197–207.
Published: 01 September 2018
... that the urgent, devastating, and nonetheless conventional images of confined black bodies that circulate in prison documentaries consolidate the racialized consensus around innocence and criminality. Drawing these perspectives into conversation, moderator and commentator Paige Sarlin differentiates between...
Camera Obscura (2018) 33 (3 (99)): 75–101.
Published: 01 December 2018
... man and mother to an Afro-German daughter named Achieng. Inspired by Obama’s own experiences, a central focus of the film is the personal effects of racism on black immigrant women and the fungibility of black lives in postunification Germany where political rhetoric has contributed to an atmosphere...
Camera Obscura (2020) 35 (2 (104)): 37–61.
Published: 01 September 2020
...Courtney R. Baker Recent African American film scholarship has called for an attention to the structures of black representation on screen. This work echoes the calls made in the 1990s by black feminist film and cultural scholars to resist the allure of reading for racial realism and to develop...
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... of chang- ing racial politics and popular performance practices throughout Lena Horne singing at a nightclub, 1947. Photo by Yale Joel. Courtesy Time Life Pictures/Getty Images Camera Obscura 67, Volume 23, Number 1 doi 10.1215/02705346-2007-022 © 2008 by Camera Obscura Published by Duke...
Camera Obscura (2000) 15 (1 (43)): 95–121.
Published: 01 May 2000
... for the poor and oppressed black community, ultimately identifying with this community herself. Embodiment Pinky has received critical attention for its representation of racial politics. For example, Donald Bogle explores the film’s stereo...
Camera Obscura (1999) 14 (3 (42)): 4–29.
Published: 01 September 1999
... such luminaries as Oprah Winfrey, Rosanne Barr, and Elizabeth Taylor," What remained unacknowledged in the furor over Stallone's new body image was the link between Copland's racialized landscape and the racial politics of the current Presidency. From the beginning, the Clinton White...
Camera Obscura (2000) 15 (2 (44)): 151–175.
Published: 01 September 2000
... constructions of race, gender, and eth- nicity. In powerfully reenacting popular fantasies of racial har- mony, the film is assured a legacy for years to come. We work through the film’s ambivalent stance toward racial and identity politics by acknowledging...
Camera Obscura (2001) 15 (3 (45)): 35–69.
Published: 01 December 2001
... participant testimonials, Maud’s analysis of Maud’s clo- sure visvis AIDS and alcoholism resounds like speculative soundbites. This method of historiography is particularly trouble- some, as it leads to a history of the bar’s racial, class, and sexual politics...