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Journal Article
Camera Obscura (1988) 6 (3 (18)): 80–94.
Published: 01 September 1988
...Diane Waldman Copyright © 1988 by The Johns Hopkins University Press 1988 Film Theory and the Gendered Spectator: The Female or the Feminist Reader? Diane Waldman Like literary theory and criticism, film theory has moved from a notion of meaning immanent in the text to a concern...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 120–126.
Published: 01 September 1988
..., Reader of Gilles Deleuze Marie-Claire Ropars-Wuilleumier Gilles Deleuze, Cinema 1: The Movement-Image (Minneapolis: University of Minnesota Press, 1986; Minuit, 1983) and Cinema 2: I.:Image-temps (Minuit, 1985; forthcoming in translation) In the pages that follow one should not look...
Journal Article
Camera Obscura (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 (2017) 32 (2 (95)): 153–163.
Published: 01 September 2017
... with theoretical arguments and practices across independent and industry game design, queer video game theory and criticism, and queer game pedagogy. By introducing readers of Camera Obscura to QGCon and the emergent field of queer game studies, this introduction seeks to expand the relationship between feminist...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 179–190.
Published: 01 January 1988
..., 1984) len Ang Janice Radway's Reading the Romance does not exactly read like a ro• mance. In contrast to the typical reading experience of the romance novel, it is difficult to go through Reading the Romance at one stretch. The text contains too many fragments which compel its reader to stop...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 3–5.
Published: 01 May 1981
.... Although the article was written with a British audience in mind, we feel that the points raised, particularly those that relate cinema to history, will be 5 of interest to our readers. . Two new areas are covered within the Women Worhng section in this issue-a Conference Report...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 93–117.
Published: 01 September 2016
... that are not exhausted by the interpretive schemas to which they are subject. Such texts ensure that they remain partially illeg- ible. In Straub and Huillet’s practice, the actors are first of all read- ers, and, more importantly, they are readers who do not know how to read the texts in their hands. This state...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 215–234.
Published: 01 September 1985
... generated within that tradition. On the other hand, Modleski sees her work as “an early contribution to a psychology of the interaction between female readers and texts” (p. 31). Here, she situates her project in two different traditions of study. First, Modleski takes up...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 103–123.
Published: 01 December 2013
... to come to a fuller picture of a scene. Scott McCloud’s influentialUnderstanding Comics argues that reading comics is akin to putting together pieces of a puzzle. By pulling together the panels or “fragments” of the narrative, the reader becomes an active agent in the creation of meaning.10...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 132–147.
Published: 01 May 1990
... narrative.* My point here is that such activity on the part of the audience can only be explained with reference both to a popular habitus and to an insufficient text whose completion can only be enacted by the reader. This participation of the reader in writing the text...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 7–33.
Published: 01 December 2023
... in the Neapolitan cycle. But it is the story I wanted to find.” This imaginary imposition of a queerness that the work of art tantalizingly withholds from the reader—the same imposition I want to make when watching Clue —is actually a feature of Ferrante's novels themselves. As Richards writes, they “provoke...
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Journal Article
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
.... Heinemann, Miss Wood and Miss Galland have not announced their future plans. 1 The historical reader of Billboard likely a music, film, or television industry professional might have brought more insider knowl- edge to this piece. But from a contemporary reading position, a host of questions remains...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 180–182.
Published: 01 December 2002
..., Meiling. In Other Los Angeleses: Multicentric Performance Art. Los Angeles: University of California Press, 2002. Cohan, Steven, ed. Hollywood Musicals: The Film Reader. New York: Routledge, 2002. Creeber, Glen, ed. The Television Genre Book. London: British Film Institute, 2001...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 141–171.
Published: 01 December 2023
...; the user becomes such without necessarily being aware of their interpellation into that subject position. For example, as I write this, I am a writer and a reader, but I am also a user of software and hardware, a user of a keyboard and mouse; I am online also a user and a subject of cookies...
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Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 53–67.
Published: 01 December 1989
... , Albert , and Tom O'Regan. An Australian Film Reader . Sydney: Currency Press, 1985 . Moran , Albert , and Tom O'Regan. The Australian Screen . Melbourne: Penguin, 1989 . Morris , Meaghan . “Identity Anecdotes,” Camera Obscura 12 ( 1984 ): 41 –65. Morris , Meaghan...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 108–111.
Published: 01 December 1989
... to inscribed readers, spectators, etc. does not seem to be the crucial issue. The problem is how this type of material -skilled, highly trained readings - relates to anything else, particularly, how it relates to the culture in which the work (if we can retain such old-fashioned...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 148–175.
Published: 01 May 1990
... Radway wants to resist the urge to “cordon” viewers for study, to isolate one particular set of reader-text relationships from its larger cultural context. Instead, she prefers to ‘‘investigate the mul- titude of concrete connections which ever-changing, fluid subjects forge between ideological...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 144–150.
Published: 01 May 1981
... and Feminism,” “Histories of France and of Feminism in France,” and “Contexts of the New French Feminisms”-would seem, even from the titles, to be an effort to prevent a wholesale importation of ideas. Such terms as “history,” “discourse,” “context” remind the reader that ideas do not fall from...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 185–197.
Published: 01 September 2021
... fragments of sentences in passive prescriptive form. The verses evoke instructions that dilate the reader's focus, delivering prompts for action suggestive of a fierce clarity of purpose, of intention. But it is an affectation that summons a sense of the didactic that challenges sense, comprehension...
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Journal Article
Camera Obscura (1984) 4 (3 (12)): 66–85.
Published: 01 December 1984
... of Ropars’s book to any classic academic work may be necessary to the deconstructive project of dis- mantling classic critical precepts and procedures: the vertigo of displace- ment that her style can enact works because the reader has entered the text expecting something...