Skip Nav Destination
Search Results for setting
1-20 of 669 Search Results for
Camera Obscura (1988) 6 (1 (16)): 9–46.
Published: 01 January 1988
...Lynn Spigel Copyright © 1988 by the Johns Hopkins University Press 1988 Better Hom es and Gardens 31 (October 1953 ), p. 8 Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948-1955 Lynn Spigel Between the years 1948 and 1955...
Camera Obscura (2020) 35 (2 (104)): 95–123.
Published: 01 September 2020
...Serdar Küçük The following article investigates the origins and functions of particular settings in queer films by examining four examples from different national contexts: Shortbus (dir. John Cameron Mitchell, US, 2006), Weekend (dir. Andrew Haigh, UK, 2011), Stranger by the Lake ( L’inconnu du...
Camera Obscura (2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... of mourning, romance, and murder are set in the great outdoors, while the interior sets are cluttered with potted plants that signify the tamed emotions of domestic life. The film establishes a binary in which an “evil” woman—played by Gene Tierney, then known as “the most beautiful woman in the world...
Camera Obscura (2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... pleasure. The story explicitly situates this technology of cognitive modification in relation to new media technologies. The attitude toward embodiment implicit both in the story and in the cultural and scientific contexts within which it emerges opens out onto a larger set of theoretical issues, which I...
Camera Obscura (2015) 30 (2 (89)): 125–155.
Published: 01 September 2015
... be visually conjured by a set of physical attributes—the burly southern sheriff or the redneck. By contrast, the trim, handsome, and pacifistic Andy Taylor (Andy Griffith) as sheriff with his comically inept deputy Barney Fife (Don Knotts) presented a new, more tolerant South. With Andy at its helm, Andy...
Camera Obscura (2015) 30 (3 (90)): 161–187.
Published: 01 December 2015
... that mediation plays in this so-called cinema of immediacy. Furthermore, this missed encounter between the films of the NFE and the critical discourse about them raises a larger set of questions regarding the status of theory in the field of contemporary film studies, particularly in the dialectical relationship...
Camera Obscura (2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... to confront. The questions that this article pose are: How does one attend to the needs of the individual alongside the challenges set forth by the group without the requirement to balance failure and breakdown against success and coherence? What processes might facilitate this balance? From within...
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
...Sara Saljoughi This article examines the problem of collectivity in Forugh Farrokhzad's The House Is Black ( Khaneh siah ast , Iran, 1962), an experimental film set in a leper colony in northwestern Iran. Focusing on the film's experiments with form, the article explores how the development of new...
Camera Obscura (2015) 30 (1 (88)): 101–127.
Published: 01 May 2015
... in defending the show's use of “guido.” This notion of care needs to be understood in a double sense: care as a regimen of behaviors, or an ethos, and care as a set of affections, or feeling. On Jersey Shore “taking care of oneself” does not just involve certain affect-techniques but is itself a technology...
Camera Obscura (2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
...Jane Feuer This essay attempts to break down a binary opposition between “quality TV” and reality TV, which is usually set up along an axis of distinction based on aesthetic value. That is: HBO dramas are art; reality TV shows are trash. As Misha Kavka writes, “Because reality television is seen...
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... considers these stakes by discussing Shortbus as both a text and a set of performative practices predicated on embodied engagement and gestural exchange. Serving as a jumping-off point for this endeavor is George Kouvaros's work on another figure in US cinema known for his collaborative ventures, John...
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
... to racism to losing their jobs. In this essay, I argue that Bookchin's work makes an important feminist intervention into discourses that either demonize or lionize social media. Utilizing strategies of seriality, database/narrative, and orchestration, Bookchin crafts a set of composite found footage texts...
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
...Kristi McKim Hirokazu Kore-eda's 1998 film After Life stylistically cites canonical Japanese films (especially that of Yasujiro Ozu), while heralding the cinema's role in both photogenically defamiliarizing the familiar and naturalizing the new. Set in a way station between heaven and earth...
Camera Obscura (2008) 23 (3 (69)): 81–109.
Published: 01 December 2008
... Sensibility is revealing of a broader set of contradictions operating in art and visual culture at the time around the production and reception of female sexual (self-)representation. Camera Obscura 2008 Video still from Female Sensibility, 1973. Courtesy Electronic Arts Intermix (EAI), New York. Art ©...
Camera Obscura (2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
... reading of two autoethnographic photographs follows, which suggests that the visual rhetoric of immediacy that permeates and surrounds the film conceals a more complex set of transactions that draw on the enduring ethnographic mythology of the mimetic child to authenticate the project of the film...
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...
Camera Obscura (2012) 27 (1 (79)): 97–125.
Published: 01 May 2012
... capacity to educate the moviegoing public about the fine arts and artistic labor, fulfilling a potential uplifting mission for cinema; to approve without modification would set precedent for allowance of the nude female figure throughout film, which board members opposed as dangerously provocative...
Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
...-director Johnson and producer Darryl F. Zanuck's eventual taming of Jones's power on the set mirrored the script's struggles between Betsy and her husband. But an analysis of the film and its production contexts also highlights the consequences of creating a masculine melodrama in a system that depended...
Camera Obscura (2012) 27 (3 (81)): 159–167.
Published: 01 December 2012
... into university settings, where it has students organize, market, and host the event. This essay examines the issues attendant with bringing LUNAFEST onto college campuses. On the one hand, LUNAFEST encourages and supports the exhibition of women filmmakers, a laudable endeavor. On the other hand, as a corporate...
Camera Obscura (2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
... aesthetic a cinematic exploration of écriture féminine . While studying the film's experimental cinematography, its carefully thought-out costume and set design, and its deliberately naive acting style, we find particularly noteworthy the filmmakers' employment of color. Fruit 's chromatic experimentation...