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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 (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 (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 (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. Florrie Burke: Well, I really dislike talking about myself. Barbara and I were a good match that way because she loved to talk about herself. But I got better...
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
...-ops in Paris.) But whatever changes in the industry 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...
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
... like Sacrificed Youth, I feel they're very false. Really. I want to go back sometimes, but I don't dare, because that place has left me with some dreadful memories. I've always wanted to write about it, but I've never been able to put pen to paper. Anyway, the only wayout of that place was to get...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 32–41.
Published: 01 September 1988
... in, and it was standing room only. It was really weird though, because there was no translation at all, and they had to show the filmone reel at a time with breaks while they were reloading the projector. Still, nobody left. We were due to leave for a coal mine at seven the next morning, so I decided to go...
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
.... There are a lot of women directors in China, but they don't really have much in common. The differences between them are the same as the differences between other Chinese directors. I think art is basically about expressing yourself. Being a woman is part of that, but I don't think it should come before...
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
... 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! Back then, imagining WMM as it is now is like imagining that we’d have an African American president — quite unbelievable...
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
... sending you these [early] films with some trepida- 36 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...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 132–141.
Published: 01 December 2020
... to different libraries trying to find images. It was amazing. That book meant a lot to me. I met James VanDerZee and Donna VanDerZee, who was instrumental in preserving his photographs with the Studio Museum in Harlem.5 J. P. Ball was the one that I was really excited about because he was an abolitionist. He...