...D.N. Rodowick Copyright © 1982 by Camera Obscura 1982 Godard and Silence D.N. Rodowick Sometimes people are angry because . . . to understand the picture they should be obliged to talk to their neighbors. “What do you think of this picture? I don’t understand...

... examines death and beauty in twentieth-century art, literature, and film. “Don’t you feel eyes moving over your body? Don’t your eyes seek out the things they wantHannibal Lecter (Anthony Hopkins) in The Silence of the Lambs (dir. Jonathan Demme, US, 1991) The Practice and Politics of “Freeing...

...Judith Halberstam Silence of the Lambs (Jonathan Demme, 1991). 0 1991 Orion Pictures Corporation Skinflick: Posthuman Gender in Jonathan Demme’s The Silence of the Lambs Judith Halberstam The monster, as we know it, died in 1963 when Hannah Arendt published her “Report...

...Elizabeth Young Silence of the Lambs (Jonathan Demme, 1991) The Silence of the Lambs and the Flaying of Feminist Theory Elizabeth Young I. The Sheepish Spectator Let me begin with a curious fact about my relation to Jonathan Demme’s film The Silence ofthe Lambs: Ted Levine...

...Jinying Li This article examines the Folk Memory Project, a collective documentary initiative in China that organized young filmmakers to return to their home villages to interview elders and unearth silenced memories of the devastating Chinese Great Famine of 1959–61. Focusing on two films...

... of contemporary life, the deployment of coincidence in Talk to Her also presents the negative potential of such enfolding. In contrast to the overt imperative to “talk” in its title, the film in effect uses the narrative logic of melodrama to traffic in secrets and to develop eloquent modes of silence. © 2008...

...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...

... on the role of cinema in promoting women’s history. Furthermore, it raises highly controversial subjects, such as how to analyze the layers of gendered silencing surrounding both women’s traumatic history and women perpetrators of these sexual crimes; the influence of former KR cadres within current Cambodian...

... “Silence = Death” relies and yields a rethinking of media history and sound studies as they relate to queer lives. Copyright © 2020 Camera Obscura 2020 duration and identity queerness and queer theory sound and sonic technologies vocality and voice American popular music I visited Vito...

... Out of Sync: Christmas on Earth’s and Couch’s Queer Sound Tracks Lucas Hilderbrand Behind the appeals for silence lies the wish for a perceptual and cultural clean slate. And in its most hortatory and ambi- tious version, the advocacy of silence expresses a mythic proj- ect...

... silenced” (136). Neill points to the absence of any kind of Maori agency or resistance in the film. As she argues, Maori culture is fetishized and the Maori themselves become “frozen in sacred time” (138), their grievances relegated (along with colonial violence) “to a kind of dreamtime—before...

... be secretly, way down inside her cultural apparition. Silence: Speech, Subjectivity and Desire . . . there is no crime worse than silence, for it covers women’s sex with its “thick veil,” renders it inaccessible, indomitable, implacable: terrifying. . . . it is this self-sufficiency...

... that it is not her but me again that one hears. What you qualify as ambivalent, in other words, is an acknowledgment of the filmmaker’s manipulations, a play on factualism and authenticity. Since we are talking about music in film, I would also like to raise the question of silence. In many films the sound...

... by the next in a routine which is already familiar by the second day-s-the exact- ness and efficiency ofJeanne's gestures, the near silence which permits us to recognize the sound of her high heels as she walks back and forth in the apartment, the sound of the water running in the sink, of cabinet doors...

... at the end of the shot in a low angle against the blue sky. V1: The French Embassy in India. V2: That distant noise . . . V1: The Ganges. Silence. V1: After her death, he left India? V2: Yes.. . V1: Her tomb is in the English cemetery? V2: Yes: Silence. V1: She died...

... they loved each other, do you think? 1: Butwhatfor?Aftersomanyyearshe still hada roomat the hotel? The ninth shot is the non-look ofanother woman. There is no response to this look. Silence, except for the sound of the sea. 10-12. The camera has moved back...

... isolate them within studies of Eastern European cinema, which means remaining within a Cold War framework. One film (Sally Potter’sThriller [UK, 1979]) works on the beginning; the other (Marleen Gorris’s A Question of Silence [De stilte Rond Christine M, Netherlands, 1982 on the end...

... of this blatant content deals with race. Morrison makes a valuable obser- vation about the dangerous tendency to ignore race that is worth quoting at length: In matters of race, silence and evasion have historically ruled literary discourse. Evasion has fostered another, substitute language in which...

... audience is made to feel. The sheer weight of this “natural” sound is made all the more evident by what is, in such a context, perhaps the ultimate sound effect: silence, which when it arrives-abruptly, as do most of Godard’s sounds-is eerily soothing. 11. Sound Recording, Sound Editing...

..." possible. It is in this way that Mobutu Sese Seko, Zairean president and sponsor of the bout, and a key figure in the mid-1990s crisis (which continues today) in the recently renamed "Democratic Republic of the Congo," casts such an ominous shadow over When We Were Kings. Silencing the Oppositional...