... male-dominated activities. This study explores the design and marketing of Daisy Rock Girl Guitars and Mattel's Barbie Wireless Video Camcorder, two early examples of this unique category of consumer electronics. Since men have historically dominated both filmmaking and electric guitar playing...

... of the 1979 film The Rose (dir. Mark Rydell, US), and in particular, through its spectacular reimagining of Janis Joplin's death, Bradshaw explores our cultural attachment to narratives of the diva's abjection and shame. By framing Joplin, that quintessential symbol of both 1960s rock-and-roll culture...

... sensibilities. This essay argues that BREAKAWAY is an inherently collaborative and cross-disciplinary work that self-reflexively invokes the utopian aspirations of the American underground and popular culture during the mid-1960s, especially through its utilization of rock and roll, a genre rooted in vernacular...

... as more defining of who they are than their minds and bodies. Rejecting aliveness as an intrinsic human quality, Nymphomaniac and Under the Skin reconceive of their characters as bags, rocks, and projectiles—and also, meta-reflexively, as beams of light. Invoking thinkers such as Jacques Rancière, Edward...

... musical fashions such as American rock and roll, swing, mambo, calypso, and cha-cha. Her performances stand out as key sites for the cinematic remediation of foreign musical styles, channeling and absorbing their connotations of otherness, exoticism, and sensuality. Moreover, Mambo Girl catalyzed a far...

... like Salome, the female dandies of the 1920s — exemplified in the Troubridge portrait — explicitly and self-consciously appropriated the Wildean codes of dandy style already unmistakably associated with male homosexuality. Later, rock and glam performers of the 1960s and 1970s...

... in the Department of Film and Media at the University of California, Berkeley. She is currently writing a dissertation titled “Girls Will Be Boys: Cross-dressed Women in US Silent and Early Sound Film.” Elinor Glyn demonstrates how to make love in a publicity photograph for Beyond the Rocks. Gloria Swanson...

... exists in parts for single- channel projections. I m cocooned in Larval Rock Stars (LRS) an ethico- aesthetic intervention that engages the intersections of the bio- techno- critical and the absurd through performance, media, writing, crawling, and . . . ? My twin Pilarva and I, we hold the larva...

... Douglas Sirk.2 It refer- ences most clearly Sirk’s 1955 film All That Heaven Allows (with its story of an upper-middle-class woman [played by Jane Wyman] who scandalizes her social circle through her romantic involve- ment with her gardener [Rock Hudson]) but also brings in key elements...

... of ideas, bodies, knowledge, culture, and music that diaspora enables. But more than this, through Hendrix as an icon, a celebrity, a rock star, and a genre-­melting musician, Gilroy is able to interrogate music’s function as a cipher of racial authenticity. He catechizes the shifting dynamics...

... and Memories, which combines sixties rock songs, bad nineties remakes of sixties rock songs (e.g., Katrina and the Waves performing, with Eric Burden, “We Gotta Get Out of This Place and spoken reminiscences from veterans. As well as underscoring the series’ preoc...

... space of telephone technology, namely a party line. The main characters initially meet over the telephone, and their phone personae-Doris Day's humorless career-woman and Rock Hudson's unrepentant womanizer-immediately clash. But because these are personae, a sampling...

... was ferociously loyal, and she stuck with me like a bad habit — caught, as I was, in her star hole. One afternoon, while desperately trying to stay awake in a medieval literature seminar devoted specifically to the subject of courtly love, I daydreamed of punk rock drag shows in which I starred...

.... In that film, widow Cary Scott (Jane Wyman) falls for her gardener, the younger, inner-directed, Thoreauvian Ron Kirby (Rock Hud- son). In the almost electrifying network of condensation and dis- placement that structures the Haynes film, Far from Heaven also amalgamates elements drawn from Sirk’s Imitation...

... in the Department of Musicology at Princeton University. His interests include film music, punk and indie rock, and modernism. Nina Schwartz is an Associate Professor of English at Southern Methodist University. Her book, Dead Fathers: The Logic of Transference in Modern...

..., and figures of the female grotesque not with reality television per se but with an episode of the NBC sitcom 30 Rock (2006 13). In Standards and Practices, limelight-­loving star Jenna Maroney (Jane Krakowski) makes a bid for public support following her stint as the mean judge on a faux reality...

...: “I choose, I chose, I have chosen”; “My body, my choice.” The next segment of the video moves to instantiate “choice,” to enact what is an abstract value or claim through the staging of a second-trimester abortion-a saline abortion. Rock salt falls from a hand situated at the top...

... is interested in theories of queer spectatorship and is currently working on a longer study involving Rock Hudson, gossip, and queer spectatorship. ...

... Arabic — abridged. In ill-­ timed guttural bursts. It was a toddler’s vernacular. “Yes I did carry rocks with me,” I whispered. “From the Promised Land.” “For my mother.” “I picked them myself.” “Does that mean I am a terrorist?” As the words left my mouth I speculated whether I...

... conversation about attachment and ambivalence in the era of marriage equality. Copyright © 2019 Camera Obscura 2019 High Art Laurel Canyon The Kids Are All Right reattachment Stanley Cavell Figure 1. Rock n roll threesome. Laurel Canyon (dir. Lisa Cholodenko, US, 2002) If three things resembling...