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Journal Article
Camera Obscura (2016) 31 (3 (93)): 5–33.
Published: 01 December 2016
... historical forms of media activism and current digital platforms for feminist activism. Figure 1. Jennifer Gilmour, left, and Marusya Bociurkiw, right, of Emma Productions, 1985 Big Affect: The Ephemeral Archive of Second-Wave­ Feminist Video Collectives in Canada Marusya...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 66–87.
Published: 01 May 1981
...R.S. Hamilton © 1981 by Camera Obscura 1981 Breulhless (Jean-Luc Godard, 1959) Between the First and Second Semiologies: Psychoanalysis and Film Theory R. S. Hamilton Entre le discours dtbile et le discours excitt, il n’est pas...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 185–192.
Published: 01 September 2017
... the usual flow of information between the player and their player-character. In this text-based Twine game, players assume the role of an unnamed, unknown “you” as you spend a final moment with your lover. Made for the prompt “Ten Seconds,” its most notable feature is an omnipresent ten-second timer...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 179–186.
Published: 01 May 2017
...Alicia Kozma This article examines Stephanie Rothman and her career as a second-wave exploitation film director between 1966 and 1974. Marginally represented in film histories and archives, Rothman made seven films during her short career and flourished in the primarily masculinized world of second...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
... the film, which is itself precisely structured as a palindromic procession into and back through a series of mirrored spaces. Faces become more prominent in the film's second half, tasked less to reveal character than to convey graphic, affective, and historical tensions pertinent to the film's...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 60–87.
Published: 01 December 2020
... of repetitious drudgery that inevitably ends in failure. Close readings of Robertson’s engagement with diet and exercise are considered within the larger genealogy of women presenting their bodies for measurement in second-wave feminist art. This form of gendered labor is in stark contrast to the...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 111–135.
Published: 01 December 2008
... and commodity fetishism as in the service of capital. First, the narrative frustrates all manners of substitution and exchange, so vital for both forms of fetishism. Second, the paternal function is continually evoked—typically in the form of the titular “Big Lebowski”—to be first submitted to...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
.... First, I address knowledge production, authorship, witnessing, and representation. The film manipulates the trope of blindness as a means to see what cannot be seen, to picture unrepresentable horrors found at the point of memory's failure. Second, I argue that this film uses blindness both to narrate...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
...Elena Gorfinkel American sexploitation cinema of the 1960s and early 1970s has gained a second life in the past two decades through a boom in video and DVD distribution and rerelease, and consequently a new, generationally distinct audience. This article proposes that what appeals to cult audiences...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... empowering messages for homemakers. Through the persona of Dione Lucas as a historical example and, for brief comparison and relevancy, the second- and third-wave cooking shows hosts—for example, Julia Child, Martha Stewart, Rachael Ray, and Giada De Laurentiis—the article explores the social role of women...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 97–125.
Published: 01 May 2012
...Cynthia Chris In 1916, a celebrated artists' model named Audrey Munson appeared in her second film, Purity . Munson's film career and the film itself are little known. This essay shows that this particular film played a role, heretofore unacknowledged, in the development of National Board of Review...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 157–191.
Published: 01 May 2012
...Nadia Sophia Sanko The story of Carmen (Mérimée 1845, Bizet 1875), the (in)famous Gypsy from Spain, is the second most adapted narrative in the history of world cinema with more than eighty global versions officially recognized to date; however, one significant and critical version has been...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
... adolescence and expose the mismatch as a zone of liminality that can be confined to neither the diegesis nor the father. The instability of Durbin's voice is exemplified by the two halves of her cinematic oeuvre. Prior to US entry into the Second World War, Universal presented Deanna Durbin as a young...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... destruction activates the second type of cruelty. Black Swan and Girlfriend Experience depend on the cruelty of the camera's eye: the paparazzo's invading eye, which takes the spectator beyond scopophilic pleasures into the realm of at least simulated interaction with the celebrity. Finally, directors deploy...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 1–31.
Published: 01 December 2013
... several new approaches to the subject. First, it examines Deren's afterlife on the Internet (or “Virtual Maya”), exploring various categories of relation to her work: transmission, reconstruction, and recreation. Second, it explores Deren's shape shifting, or her ability to continually transform herself...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
... relationships. Specifically, I consider two facets of the series. One is its appropriation of controversial issues in popular discourse. The second is the public response to Dwelling Narrowness , ranging from netizens' and public authorities' reactions to the controversial issues it depicted to Chinese scholars...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 175–185.
Published: 01 September 2016
... conversation with theorists who challenge what it means to see and be visible. The first site of opacity, engaging Eve Kosofsky Sedgwick's examination of paranoid and reparative reading, asks about the limits of paranoid thinking as a response to the contemporary surveillance situation. The second site of...
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 (2020) 35 (3 (105)): 30–59.
Published: 01 December 2020
... ecological crisis at the hands of deforestation and porn studies with two aims. First, it highlights the fraught relationship a pornographic video aggregator like Pornhub might share with feminist and queer epistemologies. Second, it emphasizes the ecosexual nature of environmental justice by way of...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 75–89.
Published: 01 May 2019
..., 1975), and the particularities of films from News from Home (France/Belgium, 1976) to Almayer’s Folly (France/Belgium, 2011), the piece finds Akerman’s memory as much in vivid quotidian images as in her indelible artistic contributions. Chantal Akerman Georges Perec second-generation Holocaust...