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Journal Article
Camera Obscura (2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
... developing a book manuscript. Her work has also been published in Cinema Journal and in online journals including Transformative Works and Cultures . Selections from the LiveJournal community
“exhibitionism_2,” March – September 2009
Show Me Yours:
Cyber-Exhibitionism from
Perversion...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 125–155.
Published: 01 September 2015
...Phoebe Bronstein This article examines The Andy Griffith Show (CBS, 1960–68) within the context of civil rights news reporting and articulates how the sitcom used humor to reenvision and rehabilitate the South in its safer white image. By 1960, due to civil rights news coverage, racism could...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
...Denise Mann Copyright © 1988 by The Johns Hopkins University Press 1988 Better Hom es and Gardens 30 (Feb. 1952 ), p. 154
The Martha Raye Show
The Spectacularization of Everyday Life:
Recycling Hollywood Stars and Fans in Early
Television Variety Shows
Denise Mann...
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/10.1215_02705346-8838589/2/s_cob8838589figure9.png?Expires=2147483647&Signature=MzM8~l6erw7~4nvtg-fI6fCQnMY-68tO-csTjle5zJSwU0qTJBii0nB-mbQy~GBsZGaxfA~D1gL-Th7ZYZQoNGUNSnxyUrHWnqdei42FPZgLeMOx5pFTO~mOkexL15hUKp8tX~UdAkDYIe1i0PHIhskY6dXjvVXVLQrY20PsLg0GgwvAjnbxqdWvVbkxcBlqKJUGbGKVQuK3dcRcwnSmCwaTVEMc8n7jiAY01fDrply8kilc3H7B3anTDfF-v8AF6OxpN21cSEeNJ5fpcAXef9ngyqOI2BBdjBeSmBCF43wx6~fVXLyCHkZGjy0Osyf4-MkbcCy-kYmVZgB8qnwgYg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 9. Still from JR's Instagram video of the cardboard Varda's travels, showing a cardboard Varda cutout going through a TSA X-ray machine (JR, 2018)
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Image
/10.1215_02705346-8838589/2/s_cob8838589figure10.png?Expires=2147483647&Signature=2ulzL~aajiyxHk5E0zb0UAY~1ia8p6kRGiotFcjR6WcdqwSs0EMkhKN0sBPUIb3eZsQiZ-of6sWpie4sUk4jmtT3a~fodAmvj9HKQtzBKKOj6RKT7xJK08w1KYTF32s9sG3QkcmtQRP90BaYrwxmUNCVDH85K2bUu0ebIj8DK~JO9AgjS3Wuu2rlE~Yj4HqikY73TcDa8FF9D8UqEXNXC~k3FWo~Ydm-fqOobGfKGqofgZ5JAn9YL-D6MJbWF0qg~~pKRdqPj8xKB4v-gWTfHyucghZSNcSLRoC~XJxrPM3IgYh7hwmQYg6OKVOX7rHhQRyae1RlZmC1pZjXCW~4CA__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 10. Still from JR's Instagram video of the cardboard Varda's travels, showing a cardboard Varda that appears mostly buried in sand at the beach (JR, 2018)
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Image
/10.1215_02705346-9052942/3/s_cob9052942figure2.png?Expires=2147483647&Signature=QPhW6wEHFTGYTlf4gnkd-KqenSHhVdAZO09BL7MlwON-NrU-BKinzMZQNKUO~R5IXjgn51OjsPvagC5hBu80Pb~IRdb00twHYcQKZNLTawH-3skN00vjtkgML0msTTWm1tOlNZv3dVOpMZO5GV5gsppxI2dTVjwqEngY61U4Jmi3rmShNkEHdvCKzgxa2pimDKFzxtjjw4frLl9JxyFbAPjxoPRTJmONVgH2PzIOnV~ATQ4v3oZy7F6LYB-pAL-6L0PM2kJqGuOo00o9ilG2Dum-Vyj2JqmgUHvJec9-JxGCkoL6370HIYNUeqFO4i0JENW9tpDzyS6N~6JHsXY8mA__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Published: 01 September 2021
Figure 2. Carolee Schneemann working on the collage flyer for Mink Paws Turret , her show within her West 29th Street loft studio (1962). Photographer unknown
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Journal Article
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...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
...China Medel This article examines the role of image culture in producing collective memory and opportunities for transnational solidarity in Alex Rivera’s science fiction film about the US-Mexico borderlands, Sleep Dealer (US/Mexico, 2008). The article shows that the film offers two contrasting...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 1–31.
Published: 01 December 2021
... far-right, anti-gay hosts. Bewitched 's ability to appeal to these very different channels’ brands and audiences underscores a textual vigor and sustainability for success in syndication that even the best so-called quality shows today lack. While some may deride a study of syndication (and reruns...
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Journal Article
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
...Kathleen Collins First appearing on the air in 1947, Dione Lucas was one of the earliest television cooking-show hosts. As a business owner, single mother, influential salesperson, and highly respected professional in her field (Julia Child referred to Lucas as “the mother of French cooking...
Journal Article
Camera Obscura (2019) 34 (3): 157–167.
Published: 01 December 2019
... and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 1–37.
Published: 01 May 2020
... it is based, and which draws as well on the concurrent archival concerns of the television show Transparent (Amazon, 2014–19), the article demonstrates how the epistemic and affective stakes of transgender bodies are mediated through specific sonic technologies that give rise to forms of mournful archives...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 142–153.
Published: 01 December 2020
... campaign with no evidence of its primary goal of dividing production support evenly between men and women by 2020 being within reach. I show that the notion of Sweden as an egalitarian haven obscures remaining injustices, norms, and, not least, the equality program’s lack of intersectional analysis...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 1–31.
Published: 01 September 2021
...Anthea Kraut Abstract This essay revisits the question of credit and debt in the celebrated 1952 film musical Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US) to show how white women's dancing bodies participate in the “talent relocations” that the movie both thematizes and suppresses...
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Journal Article
Camera Obscura (2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
... of participatory culture with which the new series is associated. Despite the apparent transgression of men enjoying a television show clearly coded as being for young girls, the article argues that Brony practices reproduce many male-centered aspects of fan media consumption in a manner that recuperates...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 101–127.
Published: 01 May 2015
...Misha Kavka Perhaps no reality TV program has been as roundly criticized for bad behavior as Jersey Shore (MTV, 2009–12). The libidinal license exhibited by the cast, as well as the early controversy regarding the show's use of the terms guido and guidette to describe the Italian American cast...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... and vice versa, and their constant association with that which is considered gross (like dirt, vomit, and feces) is habitually a sign of what emotional and economic insecurity has wrought. However, race makes a critical difference in the treatment of abjection in these two shows. While Girls is a study...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
...Karen Orr Vered; John McConchie Inspired by a review of the political theories of Anthony Giddens, particularly his question of whether or not there can be a Third Way politics of family, this essay examines the TV show Supernanny as an example of what we call “Third Way TV.” Tracing the program's...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
... that the popularity of Mary Hartman reveals viewers' frustrations with television in the 1970s and, furthermore, that the show was uniquely able to integrate a nationwide audience, even as executives envisioned it as a series of discrete markets divided by gender and class. The show, which at times verged...
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in Re witched : Retextuality and the Queering of Bewitched
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 2. LOGOtv's Facebook posts joke about the queer identities of Bewitched 's stars and characters, while FamilyNet's posts emphasize the family-friendly patriarchal nature of the show, highlighting here that its signature opening animations were made by a kid-friendly animation studio.
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