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raynal

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Journal Article
Camera Obscura (1976) 1 (1 (1)): 11–26.
Published: 01 May 1976
... © 1976 by Camera Obscura 1976 An 'Interrogation of the Cinematic Sign: Woman as Sexual Signifier in Jackie Raynal's Deux Pois Deux Fois, made in 1970 byJackie Raynal, a French film editor, was cho- sen as a text for analysis because it foregrounds...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 27–38.
Published: 01 May 1976
... © 1976 by Camera Obscura 1976 Deux Fois: shot commentary, shot chart, and photogrammes 01 This shot functions asan introduction to the film. The action ofthe shot is very simple. Raynal, at a table, is nervously eating a salad and bread and drinking a coke. Her eyes...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 5–13.
Published: 01 May 1979
... in Berkeley which is well-known for its militant programming of political films and has always been responsive to feminists in the Bay Area. It was at the Picific Film Archive that we first met and saw the films of Jackie Raynal and Yvonne Rainer. So, for the first time, we were seeing films...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 39–41.
Published: 01 May 1976
... • 32 * expressions and soundless xcu m ~ noises. "Raynal has cut this shot from the film. KEY xcu: extreme close-up f: female h: high angle cu: close-up m: male I: lowangle...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 140–142.
Published: 01 May 1976
... © 1976 by Camera Obscura 1976 Works in Progress: Current Film Practice Jackie Raynal is living in New York City, writing and doing research on contemporary French avant-garde film. She is hoping to find the means to direct another film. D Hollis Frampton has made forty one...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 3–4.
Published: 01 May 1979
... and the Avant-Garde.” As preparation for the conference, in the three weeks preceding it, the Co-op had screened several films which have been important to our work: Yvonne Rainer’s Film About a Woman Who.. ., Jackie Raynal’s Deux Fois, Chantal Akerman’s News from Home, Marguerite Duras’s India Song...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 3–10.
Published: 01 May 1976
... The Mother and the Whore. Raynal's film offers a critique of the notion ofwoman as a spectacle in classicalnarrative cinema. Her film poses the problem of the place of wo- man within the dominant representational mode and enacts transgressions on the structure of that representation...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 116–118.
Published: 01 September 1980
... Approaches. Vol. I, no. I; pp. 3-10. . An Interrogation of the Cinematic Sign: Woman as Sexual Signifier in Jackie Raynal’s Deux Fois. Vol. I, no. I; pp. 11-26. Deux Fois: Shot Commentary, Shot Chart, Photogrammes. Vol. I, no. I; pp. 27-51. Yvonne Rainer...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
... Archive for the Future  • 5 Raynal’s Deux Fois (France, 1968), the work of Yvonne Rainer, and Jean-Louis Baudry’s theory of the cinematographic apparatus. Sub- sequent issues were produced sporadically for three years, at which point they largely regularized at three issues per annum. Some key...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 135–150.
Published: 01 May 1979
... movement would be advantageous. However, the problematic of this strategy has been explicitly articulated in the analysis of Jackie Raynal’s Deux Fois (Camera Obscura 1, 1976). In short, in order for Raynal to interrogate cinematic voyeurism, she has to offer her own body as a fetish. Similarly...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 155–160.
Published: 01 December 1989
..., and of the articles on films by Yvonne 157 Rainer and Jackie Raynal, was the methodology of textual analysis. Where the Baudry article had avoided any explicit reference to “fem- ininity ” per se, Mulvey’s “Visual Pleasure” took the complex consid- erations of sexual difference as a point of departure...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 115–121.
Published: 01 September 1977
... metaphorically organized films of Yvonne Rainer and Jackie Raynal, in which the unit sequencing or the unit-shot construction allows for a rearrangement of units in one's rethinking of the films, here the film's sense depends very much on the strict, chronological progres- sion of its events. One task...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 2–33.
Published: 01 September 1977