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shirley

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
...Ara Osterweil In an era of motion picture history that forbade the representation of explicit adult sexuality and interracial romance, the appeal of Shirley Temple's innocent yet erotic persona was instrumentalized by the film industry as an important box office draw and powerful ideological weapon...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 127–155.
Published: 01 May 2012
...Kristen Hatch This essay explores the role that men played — as costars and fans — in Shirley Temple's film career, arguing that Temple's stardom stood at the juncture of two paradigms. It was built upon the fairly stable understanding that male child loving signified men's discipline and restraint...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 1–31.
Published: 01 September 2011
...Irene Gustafson This article analyzes Shirley Clarke's seminal film, Portrait of Jason (US, 1967). Through an examination of the film's formal qualities within the context of its production and reception, this article argues that the film is best understood as a “screen test.” The relatively scant...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 217.
Published: 01 May 1988
... 144 pgs, $7.95 sc, $15.95 hc NEW! SPRING 1988 "A book of the hart." Lee L- San THE FORBIDDEN STITCH chronicle AN ASIAN-AMEmcANwoMEN's ANTHOXDGY THEWHITE JUNKOF edited by Shirley Geok-Iin Lim & LOVE...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 181–183.
Published: 01 December 2012
... Discipline and Pleasure: Shirley Temple and the Spectacle of Child Loving. No 79: pp. 127 – 155 Colleen Jankovic with Nadia Awad Queer/Palestinian Cinema: A Critical Conversation on Palestinian Queer and Women’s Filmmaking. No. 80: pp. 135 – 143 Omar Kholeif Me and a Rifle (and an IDF...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 140–142.
Published: 01 May 1976
...-minute film 'fragments' which may become part of his Magellan Cycle. D Shirley Clarke is teaching experimental video at UCLA and working on a comical-musical teleplay written with Susan Yankowitz. She is also designing a collaborative video communications network in Los Angeles: it will begin...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1986) 5 (3 (15)): 176–179.
Published: 01 December 1986
.... Translated by Gillian C. Gill. Cornell University Press. Ithaca, NY, 1985. $16.95. The (M)other Tongue: Essays in Feminist Psychoanalytic fnterpretation edited by Shirley Nelson Garner, Claire Kahane and Madelon Sprengnether. Cornell University Press. Ithaca, NY, 1985. $12.95. Gynesis...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 53–67.
Published: 01 December 1989
... of a Splatter Girl,” Part 1, Filmnews 17 , no. 2-3 ( 1987a ): 16 ; Part 2, Filmnews 17, no. 11 (1987b): 16; Part 3, Filmnews 18, no. 2 (1988): 16. Kuhn , Annette . Women's Pictures: Feminism, and Cinema . London: Routledge & Kegan Paul, 1982 . Law , Shirley . One Look—And...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 76–96.
Published: 01 May 1976
... to be using similar techniques. I think Lives ofPerformersis much more Brechtian than Film Abouta Woman Who Nothing in Woman Who resembles the close-up of Shirley Soffer say- ing "Which woman is the director most sympathetic to?" Nothing in Woman Who .. , steps out of the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
... numbers on set. As a girl, of course, Durbin cannot be a mother. The sugges- Durbin and the Mismatched Voice • tions of her incestuous relationship with her father notwithstand- ing, Durbin’s lms, like Shirley Temple’s, often nd her without a strong...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 16 (3 (48)): 197–227.
Published: 01 December 2001
... historically and culturally specific to the waning days of the “age of the child.” Other meanings may have lingered or been rearticulated in a different cinematic form in subsequent eras. After all, we should not forget the Great Depression and that other sacred child of the screen, Shirley Temple...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2003) 18 (3 (54)): 3–38.
Published: 01 December 2003
... Women’s Interart Center, several video “toys” or games involved participants in another kind of interaction. Like her mother, filmmaker Shirley Clarke, who, at workshops held in her penthouse at the Chelsea Hotel in the early 1970s and in the TeePee Video Space Troupe that evolved from them,55 used...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2017) 32 (3 (96)): 93–119.
Published: 01 December 2017
...; The World of Suzie Wong (dir. Richard Quine, US/UK, 1960), a romance about a white American man who falls in love with a Chinese prostitute in Hong Kong; and My Geisha (dir. Jack Cardiff, US, 1962), a truly bizarre film starring Shirley MacLaine as a famous actress who disguises herself as a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 5–13.
Published: 01 May 1979
... Germaine Dulac, Agnes Varda, Maya Deren, Vera Chytilova, Leontine Sagan, Esther Shub, Barbara Loden, Shirley Clarke, Dorothy Arzner, Ida Lupino and others. When you hear these names now, it seems obvious that a lot of women have made films. But, when we began, this was not at all evident; it was...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 202–223.
Published: 01 September 1991
... predominantly masculine -perspective on married life despite the increased presence of women within the variety house audience. If, as Shirley Staples suggests, these domestic sketches allowed male and female characters to be “pitted against each other to play on the divergent...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 197–208.
Published: 01 May 2007
... Feminism and Video  •  199 Hirschhorn.” “Name one,” my mother offered coyly. “Okay,” he replied with certainty, “Joan Mir For one thing, no one had ever heard of any women direc- tors, except for Shirley Clarke, maybe, and just maybe, in that world of the avant-garde in New York City...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 53–70.
Published: 01 May 1976
... beautifully chor- eographed, beautifully executed, beautifully lit, beautifully staged series of movements in a particular space; or, seen through Shirley's eyes, as emblematic of the elegance she can never hope to achieve, which signifies for Shirleythat her lover will love Valda, or more...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 46–63.
Published: 01 September 1990
... bachelor machine he dreams himself to be- thanks to Allah, he’s not a writer and he never mentions his mother. Around the World in 80 Days. From West to East, with that other sauvage in disguise, Passepartout -he a Mexican disguised as a French manservant, me an Arab woman disguised as Shirley...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 103–139.
Published: 01 September 2008
... his PhD dissertation on death in motion pictures at the Cohn Institute for the History and Philosophy of Science and Ideas and the Shirley and Leslie Porter School of Cultural Studies at Tel Aviv University. Eyal (Lior Ashkenazi) pulls out a handgun and blows his cover in Walk on Water (dir...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 1–33.
Published: 01 December 2001