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Journal Article
Camera Obscura (2009) 24 (2 (71)): 107–137.
Published: 01 September 2009
... intentionally or not, a series of misreadings that oblige us to ask again and again just what we were hoping to see. Bahia in Nadia’s room, A Door to the Sky, (dir. Farida Benlyazid, Morrocco, 1988) Now You See It, Now You Don’t: Transnational Feminist Spectatorship and Farida Benlyazid’s A Door...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... induces another kind of damage, or agnosia: the ability to evaluate facial beauty. “Liking What You See” reflects on the ways in which such a technology might either disrupt or reproduce gender and racial ideologies by altering people's ability to recognize and experience a particular form of visual...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
...Bridget R. Cooks The Liberation of Aunt Jemima by Betye Saar, 1971. Mixed media assemblage box. Courtesy of the artist. See Me Now Bridget R. Cooks Betye Saar’s The Liberation of Aunt Jemima (1972) uses the familiar spectacle...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 103–123.
Published: 01 December 2013
... possibilities of the graphic genre. Mapping Bechdel's coming-of-age story as a narrative about coming to see, this article traces the importance of vision in young Alison's gender identity, her relationship to her father, and her ability to posthumously “see” her father through family photographs. This article...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 139–159.
Published: 01 September 2009
... others have continued to see the same sadistic voyeurism target- ing women still denied subjective agency but increasingly depicted in diverse ways as the monstrous-feminine. In The Dread of Differ- ence: Gender and the Horror Film, an anthology that endeavors to locate gender issues within...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
... of seeing.” But this mode of seeing is not innocent; it is, to adopt Heideggerian language, a “challenging” or “enframing” of seeing, such that the quotidian processes of imagination and conceptualization evident in the human senses are instrumentalized according to specific interests and outcomes. I wish...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 175–185.
Published: 01 September 2016
... various appeals to concealment and partial visibility raise critical questions about surveillance logics, technologies, and practices and their appeals to fantasies of total seeing and knowing. This essay is organized into three parts, and each part places Harvey's countersurveillance works...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
...Linda Williams This essay's point of departure is the question of how images of death and torture are literally and metaphorically framed by the people who take them and how they are further received by the publics who see them. Beginning with a comparison of two digital headshots of an Arab enemy...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... and nonsight in the context of war in Southeast Asia, illuminating the contradictions of representing Cambodian history and “seeing,” or apprehending, trauma and memory through cinema. I trace the connected, if not commensurate, powers that seek to make sense of their senselessness, their blindness. First, I...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 177–189.
Published: 01 September 2013
... lens, Leonard works from an implicitly queer and feminist perspective that puts pressure on both hegemonic modes of seeing and our ways of narrating them. Such concerns have similarly animated the work of art historian Huey Copeland, whose writing explores the ways in which forms of cultural difference...
Image
Published: 01 May 2021
Figure 6. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had photographed (see fig. 4 ). Courtesy of Rosalie Varda Figure 6. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had photographed (see fig More
Image
Published: 01 May 2021
Figure 5. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had photographed (see fig. 4 ) and handwritten notes. Courtesy of Rosalie Varda Figure 5. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had More
Journal Article
Camera Obscura (2022) 37 (1 (109)): 61–89.
Published: 01 May 2022
... ( Banshun , Japan, 1949), the film's narrative premise traces the strong bond between a widower and his adult daughter. Most critical assessments of the film thus interpret 35 Shots of Rum as an homage to Ozu, seeing the daughter's love for her father as a reflection of Denis's devotion to the Japanese...
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Journal Article
Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... and database matching. These techniques of facial recognition evident in film and television programs relating to the recognition of the pathologized body, the terrorist body, and the racialized body bring together modes of seeing that transfer the work of profiling racialization onto seemingly neutral new...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 161–195.
Published: 01 May 2010
... success, I argue, should be understood as symptomatic of the contemporary fascination with seeing ourselves reflected back to us, a fascination fueled, in part, by technological innovations. The site capitalizes on the public's growing willingness and desire to become participants in the erotic...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
... we discuss in our essays. Rather than seeing those complex negotiations as a drawback, we suggest that these very tensions have created this culturally rich form. It is this complexity that makes vidding an enticing object for academic analysis, but even more so an important aesthetic and political...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 131–138.
Published: 01 September 2011
..., and communitarian constraints we discuss in our essays. Rather than seeing those complex negotiations as a drawback, we suggest that these very tensions have created this culturally rich form. It is this complexity that makes vidding an enticing object for academic analysis, but even more so an important aesthetic...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 139–146.
Published: 01 September 2011
..., and communitarian constraints we discuss in our essays. Rather than seeing those complex negotiations as a drawback, we suggest that these very tensions have created this culturally rich form. It is this complexity that makes vidding an enticing object for academic analysis, but even more so an important aesthetic...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
... and complicity, not rebellion or resistance. Both, however, use the danchi wife to frame their broader social critiques. This essay argues that far from being the end of politics, sex films see liberation in intimate formal relation to postwar political and economic realities. Finally, I argue that sex films...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 93–133.
Published: 01 September 2012
... and psychoanalysis literature. This new paradigm is driven by the emergence of a new wave of Israeli documentaries such as Ari Folman's Waltz with Bashir , Tamar Yarom's To See If I'm Smiling , and Avi Mograbi's Z32 , one that for the first time includes female IDF (Israeli Defense Forces) veterans. Israeli cinema...