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realism
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1
Journal Article
Camera Obscura (2018) 33 (3 (99)): 49–73.
Published: 01 December 2018
... ( The All-Around Reduced Personality—Redupers , West Germany, 1978), and Berlin School director Angela Schanelec’s Marseille (Germany, 2004). Examining each film’s attitude toward photography through the lens of Siegfried Kracauer’s postwar theory of film realism, this article relates the politics...
Journal Article
Why Isn't Michelle Lopez on Judge Judy ? Citizenship and Televisuality in Hima B.'s And I Do Survive
Camera Obscura (2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
.... Aniruddha Maitra analyzes Lopez's condition through his reading of Hima's video, not to privilege representative realism, but to begin to theorize a more reflexive ethics of representation. Maitra argues that it is Hima's self-conscious verité style that articulates at once its own desire to “represent...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 1–31.
Published: 01 September 2011
... the film's critical test of realism — both cinematic and identitarian. This essay argues that failure to achieve recognition under the normative presumptions that underlie our understanding of formations of both nonfiction and race/sexuality is arguably the source of the film's most productive tension...
Journal Article
Camera Obscura (2018) 33 (2 (98)): 139–159.
Published: 01 September 2018
... reallyism : a nonce word meant to signal, through the prosthetic addition of a cheeky syllable, the both/and of genuine realism as augmented by ly rical (or sil ly ) escapes from it. Where the “reallyism” of limited cel animation is more particularly concerned, formal repetition and banality make present...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
...Muriel Cormican While Maren Ade’s three feature films— Der Wald vor lauter Bäumen ( The Forest for the Trees , Germany, 2003), Alle anderen ( Everyone Else , Germany, 2009), and Toni Erdmann (Germany/ Austria, 2016)—employ techniques of realism prevalent in contemporary transnational cinema...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 91–97.
Published: 01 May 2019
... of working, especially on documentary and installation pieces; her preference for frontal shots; her lack of interest in rules, realism, and character psychology; and her humor. The tribute closes with the filmmaker’s own words on her last film, No Home Movie (Belgium/France, 2015). Copyright © 2019 Camera...
Journal Article
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...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 69–85.
Published: 01 December 2022
...Ivan Cerecina Abstract This paper describes the history of the writing and the intellectual context for Nicole Vedrès's essay “The Leaves Are Stirring.” It places Vedrès's claims about cinematic realism and montage in dialogue with canonical theorizations of film theory in France at this pivotal...
FIGURES
Journal Article
Camera Obscura (2023) 38 (2 (113)): 119–143.
Published: 01 September 2023
..., who similarly became the subject of news stories, films, performances, and a TV series. It examines the BBC's commissioned documentary film India's Daughter (dir. Leslee Udwin, 2015) as an example of how the aesthetics of realism can sensationalize sexual assault, engender a spectatorial complicity...
FIGURES
Journal Article
Camera Obscura (2022) 37 (3 (111)): 59–67.
Published: 01 December 2022
... Liandrat-Guigues and Jean-Louis Leutrat, Alain Resnais: Liaisons secrètes, accords vagabonds (Paris: Cahiers du cinéma, 2006), 180.—Trans. 5. In “Le nouveau réalisme continue” (1937), Léger writes that “each era has its own [realism]: it invents it, more or less, in relation to preceding epochs...
FIGURES
Journal Article
Camera Obscura (1988) 6 (3 (18)): 146–154.
Published: 01 September 1988
... it is designed for is not widely taught yet,
it will be useful for advanced students as an introduction to Allen and
Gomery's work and as a summary of the various strains of film his•
torical research. The book is divided into three sections: a theoretical
introduction that puts forward a theory of realism...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 132–147.
Published: 01 May 1990
... of their viewers in practice,
for others through imagination, a fracturing of the diegetic world. The
self-conlained universe of classical realism is neither contained nor
sufficient; the narrative crosses into the everyday world of the viewer
and requires a connection with this world to complete...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 9–57.
Published: 01 December 2001
... of a larger discourse of
believability built to enhance the realism of on-screen perform-
ances, particularly the difficult feats of the female players.12 The
lure of referentiality that underlies the system’s epistemological
endeavor makes it meaningful in the context of an industrial-
urban modernity...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 102–110.
Published: 01 September 1983
... and narrative form. The idea of the political unconscious
is developed within the context of two related debates which derive from
the writing of Georg Lukacs. The first is the debate on realism and
modernism in literature, and the second is the theoretical opposition
between false...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 1–39.
Published: 01 September 2002
...
and opposing modes of visual realism. I will call these poles “index-
Contagion and the Boundaries of the Visible • 3
ical” and “artificial,” though, as we will see, both poles strive for
indexicality, and both have a fundamentally artificial relationship
to “the real...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... as Dunye’s film seems to recuperate prior feminist
documentary practice, we cannot ignore that it is simultaneously a
rejection of the realism of such films; not only is the film not docu-
menting a real documentary but we are also told at the end of the
56 • Camera Obscura
film that the woman...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 323–327.
Published: 01 December 1989
...-
tices, it must appeal to the narrative strategies of realism by invoking
the concept of the male gaze and the female image within the diegesis.
Once that leap is made, one has returned to the issue of identifying
with male versus female characters. One may accept the proposition...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 144–156.
Published: 01 December 1984
.... Drawing on Stalin’s definition of socialist
realist cinema of the ~OS,Kuhn points to its similarity to Hollywood classic
realism which she sees as based on strategies of narrative resolution. Social-
ist realism has two necessary characteristics:
[Flirst, an adherence...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 129–157.
Published: 01 May 1995
...
such as Noel Burch, Scott Nygren has pointed out that "modernism"
in japan, since the Meiji period, has meant realist representation and
"humanism," as opposed to the traditional Japanese cultural forms
that were so influential to Western modernisrn.l? Implicit in photo-
graphic realism and narratological...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 194–199.
Published: 01 December 1989
... emo-
tional connection. We respond to being “hailed” because the process
of subject-formation offers both identity and emotional connectedness.
It was largely our anti-realism theory that made it difficult to use
the word “emotional” in recent feminist film theory: we have been...
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