1-11 of 11 Search Results for


Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
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
..., Barthes’s focus on this specific detail uncan- nily recalls a famous Hitchcockian scene of visual fascination in Vertigo (US, 1958), when Scottie (James Stewart) approaches Madeleine (Kim Novak) from behind in the museum. Although he is voyeuristically following her, his investigative gaze loses its...
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
... eeets up my ahhhssshole" [told, of course, with the exaggerated accent and long vowels]. Professor Malcolm's appended comments are pertinent and so I will include them here as well: No doubt "Scotty" prefaced the story with some elaborate explanation...
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
... 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 away from what fascinates him. Later, after the false-real death of Madeleine, the man wanders on the borderline of madness (between neurosis and psychosis...
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...