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Camera Obscura (2010) 25 (1 (73)): 1–27.
Published: 01 May 2010
...Ned Schantz This essay considers the recurring problem of plot alternatives in Alfred Hitchcock, of powerful shadow scenes that overwhelm the manifest plot and demand a critical account of their own. Confronting such shadow scenes, the viewer takes up a social position in a long chain of failed...
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
...Alessandra Raengo This essay pursues an understanding of the blackness of black cinema that is unhinged from the body of the maker or the content of the image. It does so by reading blackness through the visual paradigm of the shadow — that is, as a blackness that cannot, other than ideologically...
Camera Obscura (2021) 36 (2 (107)): 135–143.
Published: 01 September 2021
... of experiencing the work, has come at the expense of attention to Schneemann's voice. The essay reflects on the work of evoking Schneemann's voice through limited records in relation to the process of grief following the artist's death. Schneemann's “sonic shadow,” the essay argues, emerges through affirmative...
Camera Obscura (2012) 27 (2 (80)): 155–160.
Published: 01 September 2012
... continues to shadow any vision of what a peaceful reality might look like. Thus it is increasingly difficult to speak of sexual politics without reference to grander institutional schemas. © 2012 by Camera Obscura 2012 Omar Kholeif is an Egyptian-born, UK-based writer and curator. He is currently...
Camera Obscura (2019) 34 (1 (100)): 99–111.
Published: 01 May 2019
.... Writing her personal history in images and words, Aker-man explores the meaning of Jewishness and other ethnicities threatened by death while reaching out to her mother as a daughter whose being has always been shadowed by legacy and history. The essay explores intertextual resonances of the installation...
Camera Obscura (1993) 11 (2 (32)): 124–160.
Published: 01 September 1993
... project, Gloria Patri, and Dedeaux’s 1992-1 993 installation, Soul Shadows: Urban Warrior Myths. l1 While Kelly departs from media representations of the Persian Gulf War, Dedeaux dialogues with video accounts of b-boy style and adolescent urban warfare. Of special...
Camera Obscura (2002) 17 (1 (49)): 31–71.
Published: 01 May 2002
... a more perfect synchronization. The characters’ bodies are by turns monumentalized and fragmented by the camera until they ﬁnally become the distorted shadows that dance across the screen in the ﬁlm’s most visually stunning and self-reﬂexive moments. Once again, black bodies meld into the apparatus...
Camera Obscura (1980) 2 (3 (6)): 112–119.
Published: 01 December 1980
... of the barred shadows faliing on them, they walk with a kmd of floating rhythm, in slightly slowed motion. Camera It is relevant to know that the filmmaker was first a still photogra- pher. As she says in her own words, following ths article, she filmed everything herself...
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... not otherwise see” (152). In the case of After Life — and of this sequence in partic- ular — photogenic properties and sensual experience align in the perceptual advancement enabled by cinematographic attention. This interest in light and shadow overtly refutes conven- tional Japanese art...
Camera Obscura (1976) 1 (1 (1)): 97–103.
Published: 01 May 1976
... place prisoners so confined would have seen nothing of themselves or of one another, except the shadows thrown by the fire-light on the wall of the cavefacing them, would they? Not if all their lives they had been prevented from moving their heads. And they would have seen as little ofthe objects...
Camera Obscura (1979) 1-2 (3-1 (3-4)): 104–132.
Published: 01 May 1979
... somber. There is, of course, The Wrong Man: exactly like Psycho (inscribed between the colorful symphonies of North by Northwest and The Birds), it left a trail of shadow, three years earlier, between The Man Who Knew Too Much and Vertigo. The two films do have in common a kind...
Camera Obscura (2006) 21 (3 (63)): 37–61.
Published: 01 December 2006
... in the background. A bit disappointed by Wong’s failure to declare his affection for her, Aunt Thirteen immediately sees the wall on which their proﬁles have been projected as a fantasy screen on which to realize their romantic union. She secretly strokes the shadow of the inhibited martial arts master...
Camera Obscura (2013) 28 (3 (84)): 125–157.
Published: 01 December 2013
... Picasso’s Guernica, notice of the activities in a “regular homosexual pick-up haunt” we Children of Men (2006) will have undoubtedly “witnessed [their] strange balletic quality” (131). I am drawn to the way in which a “strange balletic quality” shadows...
Camera Obscura (2001) 15 (3 (45)): 195–225.
Published: 01 December 2001
... You Make a Paranoiac Laugh?” Wait a minute! Someone’s crawling out of the hollow top . . . some- one or . . . something. Good heavens, something’s wriggling out of the shadow like a gray snake. Now it’s another one, and another...
Camera Obscura (1989) 7 (2-3 (20-21)): 209–212.
Published: 01 December 1989
... on pornographic films, “The Body’s Shadow Realm” (1981), in which I took up this aspect of a socio-cultural inscription of distorted gender perception, especially in the context of the genetically shared source of the scopic and episte- mophilic drives. The limits...
Camera Obscura (2003) 18 (3 (54)): 99–117.
Published: 01 December 2003
... that these contemporaneous artworks show an intertextual ﬁxation on the stripped body in the grip of compulsive acts shadowed as the inauguration of a highly personalized ritual. In each case the actions pose their own enigma: why would anyone do this? We might choose one of two explanations for the accumu...
Camera Obscura (1985) 5 (1-2 (13-14)): 28–49.
Published: 01 September 1985
... Graham),or with two non-identical doubles of himself-his shadow, or his reflection, and his video image (in Shadow Projection, Interface by Peter Campus). Vito Acconci’s handsome, penetrable ‘ ‘sculpture’’ Body Caps&, takes an interactive approach, continuing the experimentation of some...
Camera Obscura (1977) 1 (2 (2)): 67–92.
Published: 01 September 1977
... the turning pages of a book: the shadow of the second title is projected on the first, eventually covering it. Thus, they pile up on top of the film's title forming a block, until the last credit: 'Directed by Alfred Hitchcock,' which reiterates, from the point of view of the mise en scene, the effect...
Camera Obscura (2008) 23 (1 (67)): 146–150.
Published: 01 May 2008
... Shadows fan cultures, blaxploitation horror films, Hollywood LSD films, and The Talented Mr. Ripley (1999). He is the author of Monsters in the Closet: Homosexuality and the Horror Film (1997). With Sean Griffin he coauthored America on Film: Representing Race, Class, Gender, and Sexuality...
Camera Obscura (2014) 29 (3 (87)): 117–147.
Published: 01 December 2014
... is arguably second only to that of John Alton. In fact, James Naremore’s characterization of Musuraca’s photography in Out of the Past as “a lyrical or sensuous play of shadow” as well as a “low-key, deeply romantic ‘painting with light’ ”20 can be profitably applied toThe Woman on Pier 13 without...