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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 (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. Camera Obscura 2009 Suzanne Gauch is an associate professor of English at Temple University, where she teaches courses in postcolonial and gender studies. She is the author...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
...Bridget R. Cooks Copyright © 1995 by Indiana University Press 1995 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...
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
... been divided in their take on recent cinematic strate- gies for portraying gender difference, with some noting a positive, recuperative agenda, whether in terms of feminist specular resis- tance or of the return of the repressed with a vengeance, while others have continued to see the same...
Image
Published: 01 December 2023
Figure 4. Vore ( right ) sees no flaw in Tina, who thinks they are deformed. Gräns ( Border , dir. Ali Abbasi, Sweden, 2018). Used with permission from Nadim Carlsen More
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...
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...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... that contemporary directors activate cruel celebrity culture in three interrelated ways. I begin by discussing the spectator's role, a position from which the noncelebrity takes pleasure in witnessing the celebrity's destruction. The spectator's cruel desire to see more and more of the celebrity's destruction...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 75–101.
Published: 01 December 2018
.... While some might see Obama’s fantastical, fragmented narrative as a reflection of her novice filmmaking, this article argues that, faced with the material constraints of making a student film, Obama relies on multiple genres and German intertexts (including The Valkyrie , M , and The Murderers Are among...
Journal Article
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
...Jenelle Troxell This article examines the origin myth of the feminist film journal Close Up , namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse ( The Joyless Street , 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless...