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Journal Article
Camera Obscura (2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
...Sangita Gopal; Sujata Moorti In the years since its release, Moulin Rouge! (dir. Baz Luhrmann, 2001) has emerged as the harbinger of Bollywood cinema's growing visibility in the West. We argue here that while the film's visual excesses are immediately recognizable as citing “Bollywood style...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 75–101.
Published: 01 September 1993
...David L. Eng Copyright © 1993 by Indiana University Press 1993 Love at Last Site: Waiting for Oedipus in Stanley Kwan’s Rouge Duvid L. Eng And when, in the city in which I love you, even my most excellent song goes unanswered...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 77–107.
Published: 01 May 2020
...Raya Morag The remarkable gendered renaissance of post–Khmer Rouge (KR) New Cambodian Cinema is evidenced in recent years through first- and second- generation post-traumatic films. This article analyzes one prominent example—Lida Chan and Guillaume P. Suon’s Noces Rouges ( Red Wedding , Cambodia...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... psychosomatic blindness, described as the women’s traumatic response to the violence of Pol Pot’s Khmer Rouge, was the subject of both academic and popular curi- osity. The marks of war, following these women across borders and across time, interpolate them, first, metaphorically as excessively raw...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 158–160.
Published: 01 September 1995
.... Eng, David L. Love at Last Site: Waiting for Oedipus in Stanley Kwan’s Rouge. No. 32; pp. 75-102. Erhart, Julia “She Could Hardly Invent Them!” From Epistemological Uncertainty to Discursive Production: Lesbianism in The Children’s Hour. No...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
... tracing and interrogating the theoretical history of the pretty and its exclusion, this article seeks to trouble the discursive field of aesthetics and politics in film theory. Camera Obscura 2009 The decorative surface of the screen in Moulin Rouge! (dir. Baz Luhrmann, Australia/US, 2001) Pretty...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 28–59.
Published: 01 September 1983
..., Echolalia, La Desserte blanche, Time Smoking a Picture, La Desserte noire, bleue, rouge, La Desserte multiple, Nostos 2. To my mind, excessively perhaps, they make up a whole, an initial whole. The fact that they grew out of theory confers no privilege on them, but a clarity oftheir own-an intense...
Journal Article
Camera Obscura (1996) 13 (2 (38)): 4–28.
Published: 01 May 1996
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... film theory and criticism, classic and contemporary Russian cinema, and Russian art criticism and cultural studies. She has published in the International Journal of the Humanities, Senses of Cinema, Rouge, Continuum, Screening the Past, Film-Philosophy , and Kinovedcheskie Zapiski. She is a...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 40–52.
Published: 01 December 1989
... cuisine rouge and Lea Pool’s Strass Cafk and La femme de I’hGtel. For her, these films provide “traces of a practice of writing in which the subjectivity of women and their desire for affirmation take form [prennent corps et textel Although both the collection of essays and...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... origin of the striptease in France to an act in the 1890s in Paris in which a woman slowly removed her clothes in a vain search for a flea crawling on her body. At around the same time, venues such as the Moulin Rouge and the Folies Bergère were pioneering seminude dancing and...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 130–143.
Published: 01 December 1984
... seems to motivate the woman to rouge her lips furiously - i.e., to assert “her own possession of an oral orifice’’ (p. 95). This is followed by a transfer to the cyclist’s mouth area of the woman’s underarm hair, the configuration of which now resembles pubic hair. For Williams...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 109–125.
Published: 01 May 2021
... , dir. Agnès Varda, France, 2008) was funded primarily by Canal+ and the CNC, Visages Villages was coproduced with a number of production companies and distributors, including Social Animals (JR's company), Rouge, Arches, and Pacte. Cecilia Rose explained, “Times are changing and we cannot finance a...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 141–166.
Published: 01 September 2008
... melodrama as a cinematic form, as his films Rouge (Yanzhi kou, Hong Kong, 1987), Center Stage (Ruan lingyu, Hong Kong, 1992), Red Rose, White Rose (Hong meigui, bai meigui, Hong Kong/Taiwan, 1994), and the recent Everlasting Regret (Changhen ge, Hong Kong/ China, 2005) attest. But the...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 77–97.
Published: 01 May 2001
... rouge), these films are not properly speaking militant. They are characterized, rather, by the absence of a denunciation of racism and the need to attenuate the situation of young beurs looking to assimilate into French society.8 The refusal of the designation...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
Journal Article
Camera Obscura (2016) 31 (1 (91)): 93–121.
Published: 01 May 2016
Journal Article
Camera Obscura (2021) 36 (1 (106)): 61–85.
Published: 01 May 2021
..., Gilles Deleuze's Logic of Sense , 107. 18. Yvette Bíró, “Agnès Varda's Open Harbour,” Rouge , September 2006, www.rouge.com.au/9/varda.html . 17. Agnès Varda, interview by Thomas Delamarre, Fondation Cartier pour l'Art Contemporain, 2012, YouTube, 5 March 2014, www.youtube.com/watch?v...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
Journal Article
Camera Obscura (2013) 28 (3 (84)): 1–31.
Published: 01 December 2013
... little jackets of contempt” for “the rustle-­ rustle of long taffeta skirts and the penguin bosoms of tanned men” as well as “the provocative chit-­chat of rouged lips” (357). 14  •  Camera Obscura And finally, in an untitled poem of 1934 she seems to prophesy her early demise and youthful...