Skip Nav Destination
Close Modal
/10.1215_02705346-9561451/2/s_cob9561451figure1.png?Expires=1682471258&Signature=4owxKFsY2fh8tLleoqOiGrIXUyKj1yo~iMu91Or2kDQ53ypCoq-coHF~2OCjqmOhcELcb8B-xpq3P4VTsstLY-sAcR8XFR9Zoh4vrgG4tGMFABWkhVpJpe9jRH~V8oVfI-Wrgu-IcCyqCgVonqz77W1eylaXx6y39VvZxbCFrsB85yT7BInsjUmbECL621OQDMTnMQDuFX4ftYnnsBPchzJ1TPV9lJyYiPGtxSq2zxBXWPKwWrsiV-41kbzI2puQXu37Ns6Wyz5cVHqWh-d0GiIDJNihu9Yl3PtzNLnJkGxvxaWEJ4bsbe5LmsNhjpVU8uSjWXt-KUXR6ufx8EPOYw__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_02705346-9561451/2/s_cob9561451figure2.png?Expires=1682471258&Signature=WTaJJyt8Iy~mPC8sOivOtv7rSkWo7XrQBWfpcuGMYaCMUoqDHYaa0piAuIQTdBbWraf19JX55bVt4qUpLAy14teJFAJQyrCq6Ns81jbms2R0qYGXJ2TNNGGTKDbktGId5NzLQA3JbiMps~ViBdojVsrSt8Pt8neVk7ckGoytz8jrPtZ6UXQoC-bVILC-Q0LUbEP~0QHCdC4m9ZXZ-6541lfCTp-4NfSX6EeElJsTWEhiy67oX7hYiuHNBTqtfEHfA~SXB5dq7Hz8COfrGEThQQL94nkZC-SRG9K7gTgoomqtY538tvyRHBn4g9Sou85ViDB0F9bRqvmncLdrps7QOg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_02705346-9561451/2/s_cob9561451figure3.png?Expires=1682471258&Signature=1E2p2Oxn8ujEU~aXeBsvUy8uTERkBB~nU3LBtvsK44n6w8Y9aypGwf6VyxzzIgfu29jv7nFgOHcb372Qmg1XR8~7gint3yMyboptCczhAr33GaZh4DBaPhnfSk6A4pvouqIHwi17ZZJ7rNNsF1WPuAVPPzmLhiybOgUD~Lhrjj5x7WLOMLaedgy6JBR8kc0ROR9se-QZmWA020vcOqEI-D3lg-rG8hMJ3xRsyDQTxoQRwrgzf2hxc4Ex0YBCBPUL6pCp6uN5T5-Bz6Hd8YjZuVyEPI7xnZ5L9xhWo5wAkNQEJdTlXCQsHFDgKnOD6Epe09zm1b6PFGAHuAPvOAG2pA__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_02705346-9349483/3/s_cob9349483figure1.png?Expires=1682471258&Signature=AB0h~LeGlxHm6BXoXPnkDYSZQebIe-vkGBsUj8I8JDkgHGyf9eS6ypz8Sd7Bfzs3LRPWaB59V~BMx79tt~jU0yVYEfTlW7DdZTa4I~5wGcWcbQODGxHisKojR6QBVyqyze46zeN6RN3awiOKhOcvnJNaTVIThvseyOQ0dOtLJ8YrtynwtPVZPgGpViUXS2sQopItLFA1F8dqgBixIlz4m9FiSSerAXQRdnJqOCx0DaZo5of7~tiE5nve5inI0lufnMIxrTsjojTP12gETDAJ0RShg7Hcfpq7vVn8p042FvfHNV1zAvmMXrBLgveDw9SZUgBGUasHnUjRDJZdzFcLsQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Search Results for
really
Update search
NARROW
Format
Subjects
Journal
Article Type
Date
Availability
1-20 of 465 Search Results for
really
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
Journal Article
Camera Obscura (2018) 33 (2 (98)): 139–159.
Published: 01 September 2018
...Nick Salvato With an emphasis on the animated special Really Rosie (CBS, 1975), this essay explores the queer capacities of limited cel animation, an artistic and technical mode that provides striking occasions for figuring both queer ’s potential and its circumscriptions. In the process, the essay...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 197–217.
Published: 01 May 2019
...Sandra Percival This essay brings to the fore the voice of composer and cellist Sonia Wieder-Atherton, who was Chantal Akerman’s collaborator and life partner for over thirty years. This dialogue was initiated in 2016 by Sandra Percival, founding director of Zena Zezza, who curated LOOKING, REALLY...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 115–147.
Published: 01 May 2022
... urbanist hyperspace that aims at absolute management of people and commodities. Unable to find something really new in new Italy, Lidia returns to the constricting discourse of melodrama she has been inscribed into as a long‐suffering wife in order to undermine its conventions and use its utopian potential...
FIGURES
| View All (7)
Journal Article
Camera Obscura (2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... underscored by a racial, sexual authenticity coded somatically in the “body” of the black male genitals. Jimi Hendrix: The Sex Tape shows us that to really understand how pornography functions as a critical medium in the production of racialized, gendered, and sexualized subjects, we need to recognize...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 145–151.
Published: 01 December 2021
... at an Aurora Pictures event honoring Hammer's work. Photographer unknown. Patricia White: Please tell us a little bit about yourself. SK: We are really grateful to you, Florrie, for talking with us. You are a continued inspiration and so articulate about Barbara, her legacy, and your own work...
FIGURES
Journal Article
Camera Obscura (1984) 4 (3 (12)): 18–39.
Published: 01 December 1984
... presentation because what I was really thinking about at the time
was the restructuring of space. People like the I Love You tape as a single
monitor work because of the segmentation and the serial effect. So that’s
fine. Other works from that series are much less successful because they
really weren’t...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 137–145.
Published: 01 December 2011
... in the film. (Although I am always aware that it’s a pose,
so perhaps this really makes it a form of irony.)
How did you fund the film and how much did it cost?
The film was funded by a friend and admirer of my work. The
budget started off at $100,000 and ended up at about $750,000.
I had...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 198–210.
Published: 01 May 1979
...
were brought about by May '68, they did not really affect me because
there was still that resistance to a woman working on camera, so that in
1969 and 1970 the only person 1 really worked for as a cameraperson
was Marcel Hanoun. Besides there were not that many people I would
have liked to work...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 176–192.
Published: 01 May 1979
... to Geoffrey Holder and
we got a different story from him. Later we talked to Teiji and recorded
yet another story. Those three versions will likely be printed one after
the other in Volume I11 so that the reader can decide what really
happened - did the refrigerator actually travel across the room...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 26–31.
Published: 01 September 1988
... much to do with my own choice, you know.
I'd been working in the countryside until I'd given up all hope. I wanted
to leave desperately. That's why when people make nostalgic films
about the experience down in the countryside like Sacrificed Youth, I
feel they're very false. Really. I want to go...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 32–41.
Published: 01 September 1988
... a movie, and that
it was an American war film about a battle on an island near the
Philippines during the SecondWorld War. Everyonewas reallyexcited,
and even though it was freezing, we all waited outside for more than
an hour. Finallywe got in, and it was standing room only. It was really
weird...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 162–194.
Published: 01 September 1985
... supposed to be tailored to a director’s needs, but
ended up being made to solve the technical problems of a camera-
operator. In other words, it was not designed to fit a really specid request.
“I asked for Artemis to hunt my images,” says Godard, “but I gotJuno.”
Godard...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 20–25.
Published: 01 September 1988
... motivation is
to express myself, and in expressing myself, it's very natural that my
being a woman should be part of that.
CB: What do you think about the idea of "women's cinema"?
ZNX: To be honest, I'm not that interested. There are a lot of women
directors in China, but they don't really have much...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 118–133.
Published: 01 September 1995
...
writing. I can’t really say I work with my voice or know what I’m
doing with it. I just know how I want what I write to sound, but
obviously that’s not unique, either. It just seems organic that my voice
affects my images that way. I love color and texture; and I’m constantly
drawing...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 115–121.
Published: 01 September 1977
... films usually has no-
thing to do with the content. It's that hardly any women really have con-
fidence enough to carry through on their feelings. Instead the content is 119
the most simple and obvious thing. They deal with that and forget to
look for formal ways to express what...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
...) was in the office — we distributed her earlier
filmRegrouping (US, 1976). Somehow Born in Flames is reverberat-
ing; it was kind of like the past and the future and the present all
twisted into one.
Yeah, it was set in the future — about now — and their African American
president really was a socialist...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 74–87.
Published: 01 December 1982
... asked for it, since what I really had in mind was a
passage from The Silence. I don’t know film history very well anymore,
and I thought that the real title of The Silence was Persona. That’s why I
said Persona, but in fact I had The Silence in mind. But it was important...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 161–185.
Published: 01 December 1982
...: No, no, because i don’t speak well English or American (laughter)
and I am really trying to listen to you and to myself speaking in a foreign
language and today, after thirty years in the movies, I am more in-
Partial transcript of a debate held at the Marin Civic Center, Mill Valley, California...
Journal Article
Camera Obscura (1996) 13 (3 (39)): 34–51.
Published: 01 September 1996
... tion," Montgomery wrote about Home Avenue (1989, 17 min Age
12: Love with a Little L (1990, 23 min and I, a Lamb (1991, 19
min "They are very personal and were really made in a kind of
punk underground aesthetic for a limited audience." Her modesty is
misplaced, however...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 132–141.
Published: 01 December 2020
... Museum in Harlem.5 J. P. Ball was the one that I was really excited about because he was an abolitionist. He was born in Virginia and moved to Cincinnati, Montana, and Seattle, and just kind of documented the Black people who were abolitionists as well as people who migrated west. Ball also photographed...
