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Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... with no audio), and unfolds as a nonlinear narrative.1 Through a series of flash- backs, the film links the protagonist s deteriorating mental state to both her subordinated position as domestic laborer and her claustrophobic envelopment in hegemonic white beauty culture, Sometimes It Seems You re in Another...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... also historically been conceived as a deviation of attention from its normal, goal-oriented routines. Attention seems to lose its proper object and so becomes aimless, free floating. In these particular films, the heroines' destabilized attention is figured in whimsical, decorative camera movements...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 133–139.
Published: 01 December 2016
...Elizabeth Losh Tactics for feminist organizing are changing with the rise of new technologies. From the standpoint of expending digital labor, not all of these changes seem to be for the better. This essay looks at the practices of the international collective FemTechNet, a network of hundreds...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 89–111.
Published: 01 May 2008
... bodies. This integration seems to be invested with limiting the potential positions from which spectators can approach the musical performance—most crucially, in preventing identification with singers' bodies. In this way, the integration of Oklahoma! participates in the tradition of the Wagnerian...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
... series, such as Project Runway (2004–) and Top Chef (2006–), and docudramas, such as Flipping Out (2007–), The Rachel Zoe Project (2008–), the Million Dollar Listing franchise (2006–), the Real Housewives franchise (2006–), and many others. Bravo seems to exemplify the perfect fit between a niche...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 27–63.
Published: 01 May 2016
... challenges both the representability and study of these emergent types that seem legible only through their apparent lack. In its call to disassociate coupled and sexualized desire from the practice of engaging films' gender and sexual politics, this article analyzes examples in independent cinema that seek...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... the notion of the stranger. Coincidence in this case would seem to satisfy a contemporary desire for recognition and connection among strangers, which the film would then exploit for its melodramatic potential. Yet far from facilitating a purely utopian meditation on countering the alienating structures...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... that cinema “at the margins” has been framed within film studies. First examining the manner in which reflexive work, particularly work that seems to address the loss of authorial control by a film director, has in fact functioned to reinstall the primacy of a dominant subjectivity, the essay then turns...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
.... But they are not the smoking guns they seemed to be. They suggest that photographs must always be considered in the light of what we know about the situation of their taking and that very often, as in the torture death of Manadel al-Jamadi, the real incriminating photo does not exist, though an eloquent picture of “cluster...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 97–129.
Published: 01 May 2010
... and their spoofing of male institutions. This comedic attack especially appears in the motion picture that gives the appreciation society its name— Sons of the Desert , which targets fraternal lodges. By analyzing this film and its lasting cultural implications, we can understand what the appreciation society seems...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 91–121.
Published: 01 September 2011
... without a veil, adapting their advertising accordingly. While this may seem straightforward, the complexity lies in the extent to which women's hair is considered “unrepresentable” in practice and in the paradoxes of presenting the veil on-screen while still demonstrating the product's benefits...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 1–33.
Published: 01 December 2011
...” and “pastiche” that have been used, often unflatteringly, to describe Coppola's works? The answer to the former question seems obvious: although set in revolutionary France and filmed in the very halls of Versailles where the Austrian-born queen resided, the film takes clear liberties with historical accuracy...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... in the present about the “impoverished” tableaus of sexploitation films is the shunted melancholia of obsolescence. Sexploitation maintains a hold on contemporary viewers precisely through the films' constriction by history, by their seeming containment within their own historical moment and inability...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
..., their sex, and their sound tracks; it would seem that the footage in both films might have been shown in any order, that anyone on-screen might have sex with anyone else, and that any ambient sound might score any image. In cinema, synchronization takes disparate image and sound tracks and fixes them...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
... by seeming to revise the very relationship between those viewers and the medium itself. Erin Lee Mock is assistant professor of film in the Department of English and Philosophy at the University of West Georgia. Her current book project considers the transition from veteran identity to masculine...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
.... But if Chang's films seem rather too insistent on positioning her within the bounds of propriety, we need only look to their extreme dependence upon modes of corporeal display that push those very bounds for the reason why. More than any other performer of her time, Chang was identified with new, unfamiliar...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
... modernity. The essay concludes with a consideration of how the film seems to screen such fantasies of racial modernity with its scenes of dancing, fashionable Asian Americans. But, the author asks, why does the exuberance generated by these set pieces feel so uncanny? How do these screen fantasies of racial...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
...Benjamin Balthaser In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 99–125.
Published: 01 September 2021
... of reestablishing a hegemonic male discourse over the Holocaust, the film also portrays a female inmate as one of the four women who made the 7 October 1944 Sonderkommando revolt in Auschwitz-Birkenau possible by smuggling in the explosives for the insurgents. Ella's disconcerting neediness in the film seems...
FIGURES
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 192–209.
Published: 01 December 1982
..., giving a prepared speech or lecture, free association, and translation. Of these, I will discuss only the two that seem most extensively employed: reading aloud and inter- viewing. Reading a text aloud is a particularly frequent activity in Godard films. One senses this happening even...