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1-11 of 11 Search Results for
scottie
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Journal Article
Camera Obscura (2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
... on digital and performance art, modernism, feminism, nationalism, representations of violence, and postsocialist cinema. She is currently working on a manuscript entitled “Mythopoetic Cinema at the Margins of Europe.” Alfred Hitchcock’s use of reverse zoom that produces the
effect of vertigo as Scottie...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 67–92.
Published: 01 September 1977
... of the trajectory by means of segmentation.
Segment 1. Chase across the roof tops, a policeman falls to his death,
Scottie, police detective, discovers his acrophobia.
Segment 2. Scottie and Midge (at Midge's): they talk about their former
relationship, his acrophobia, a second shockwhich alone, she...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 1–27.
Published: 01 May 2010
... not
deliberately murder his first wife in the backstory of Rebecca (US,
1940)? He does in the novel!4 Does Johnnie not try to push Lina
out of the car and over the cliff at the end of Suspicion (US, 1941)?
Does Scottie not hurl Judy off the tower at the end of Vertigo (US,
1958)?5 To be sure, repressive...
Journal Article
Camera Obscura (2004) 19 (1 (55)): 77–111.
Published: 01 May 2004
... of hair” (58). This gratuitous feminine detail acts as a coun-
terweight that, once noticed, disrupts the image’s narrative pur-
pose.
In addition, Barthes’s focus on this specific detail uncan-
nily recalls a famous Hitchcockian scene of visual fascination
in Vertigo (US, 1958), when Scottie...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... of decorum. We can
imagine Vertigo (dir. Alfred Hitchcock, US, 1958) as the operative
reference, with some reconfigurations to its narrative unfolding
that aim to avoid, for example, Scottie’s (James Stewart) recogni-
tion that Madeleine and Judy (Kim Novak) are the same woman, or
to rewrite Judy’s...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 46–63.
Published: 01 September 1990
... toured the world in eighty days -and in 1892 had
gotten it down to sixty. His name-are you ready?-was George Fran-
cis Train.6 Beam me up, Scotty. These are, after all, the voyages of the
Starship Armchair.
“We end up,” Fagin says, in “a library of the voyage with many
different types...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 187–237.
Published: 01 January 1996
... will
include them here as well:
No doubt "Scotty" prefaced the story with some elaborate explanation for
how the three came to be stranded together but I have long since forgotten
what it was. I feel certain the above dates are accurate. I came to SDSU
(then SDSC...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 33–57.
Published: 01 May 2005
... an indirect inspiration for Irréversible—it is a trauma-
tized female body, of course, that draws Scottie back to the past
in Hitchcock’s classic about how time engulfs us.) The wild, hyp-
notic, spinning camera work at the opening of Noé’s film serves
to interrogate not just space but also...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 104–132.
Published: 01 May 1979
...-
example. The woman is the object of an illusory psychosis; she is an
image of psychosis, turned toward death in a twofold manner, through
the image-painting of Carlotta Valdes. She awakens a passion in the
man: the desire to see, mesmerized by death; this is the moment when
Scottie tears Madeleine...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 74–100.
Published: 01 September 1991
....
But, as Guy’s rage at Miriam indicates (rather like Scottie’s rage at
Midge when she parodically paints herself as a blonde-function sport-
ing spectacles, in Vertigo), in Strangers on a Train active female spec-
tating is no joke. Interestingly enough, Hitchcock’s own appearance...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 177–229.
Published: 01 September 2001
... or distress, to
“spoil” her by rendering her own self-identity unstable, even to
destroy her. In Hitchcock’s Vertigo (US, 1960), Judy’s second
assumption of the role of Madeleine (under direct pressure from
Scottie) provides an example of how emulation can also be per-
formed reluctantly or ambivalently...