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skin

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Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
...Anne Anlin Cheng This article tells the stories of architect Adolf Loos and cabaret/film icon Josephine Baker in order to trace the philosophic intimacy between modernist preoccupation with the nude surface and the staging of exposed, racialized skin in the early twentieth century. The racial...
Journal Article
Camera Obscura (2018) 33 (2 (98)): 41–67.
Published: 01 September 2018
...Marta Figlerowicz This essay examines Lars von Trier’s Nymphomaniac (Denmark/Belgium/France/Germany, 2013) and Jonathan Glazer’s Under the Skin (UK/US/Switzerland, 2013) as instances of an aesthetic trope described here as “inanimism.” Both films depict inanimate representations of human beings...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
..., be attached to skin pigmentation but indicates instead the body's extension beyond itself into the social sphere. With a close analysis of a variety of visual texts, ranging from the shadow of a lynched body in a 1930s NAACP (National Association for the Advancement of Colored People) photograph...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 36–53.
Published: 01 September 1991
... and a result of habit. Monsters of the nineteenth century -like Frankenstein, like Dracula - certainly still scare and chill but they scare us from a distance. 38 We wear modern monsters like skin, they are us, they are on us and in us. Monstrosity no longer coagulates into a specific body...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 12–31.
Published: 01 September 1995
... that reveal you to the rest of the world, your dark skin and your kinky/curly hair, are visuaL2 To say that the health and beauty industries have been successful in marketing and manipulating Black consumer desire when it comes to hair would...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... or healthy appearance (skin tone, etc all defined as visible evidence of a particular genetic fitness for reproduction. This work exem- plifies a sociobiological argument about the evolutionary basis for particular forms of spectatorship and for visual pleasure as a uni- versally shared psychological...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 7–35.
Published: 01 May 2009
... were linked.9 The modern value of race stemmed from its ability to link somatic differences to innate physical and mental characteristics. According to Samira Kawash, In this shift to a modern, biologized understanding of race, skin color becomes visible as a basis for determining...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 206–237.
Published: 01 January 1992
... that build up around the eye and stretch the skin, producing wrinkling and sagging, and is most likely the result of a hernia-the weakening of the tissue around the eye-in which the fat deposits push outward and downward. Although eye- strain and fatigue can result from...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
... Figueroa-Sarriera, and Steven Mentor, Routledge, 1995), Race in Cyberspace (ed. Beth Kolko, Lisa Nakamura, and Gil Rodman, Routledge, 2000), and Only Skin Deep: Changing Visions of the American Self (ed. Coco Fusco and Brian Wallis, International Center of Photography, 2003). Her book Subject...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 75–117.
Published: 01 September 2010
... and west and north and south” (64).16 Once she arouses Paul’s mind, she teaches him the agonizing pleasure of erotic spectator- ship; he can look at but not touch her. In the novel’s most famous scene, the Queen makes Paul watch as she writhes orgasmically upon a tiger skin. This visual spectacle...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 161–171.
Published: 01 September 2010
... on the planta- tions, as well as those who come to the DR, are told by the Domin- icans, “We were born to direct you and you were born to follow.” Is race, then, a matter of nationality and language rather than skin color? Without doubt it is. There are horrible things that you encounter in the DR...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 95–121.
Published: 01 May 2000
...- ferent light on the use of a white actress in the mulatto role. The actress herself begins to function symbolically in creating the light-skinned black woman in the absence of diegetic white rela- tives. The ambivalence created by the dichotomy of white...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 121–154.
Published: 01 December 2017
... in and through film. This work accounts not only for filmic materiality but also for the phenomenological “likeness” between human and cinematic embodiment — especially via notions of the “skin of the film” and “cinematic musculature” — that facilitates “sensuous empathy” between film and viewer...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 1–35.
Published: 01 September 2020
... habito (The Skin I Live In, Spain/France) also examines the scopic regulation of bodies and sexes under the sign of gender. Gender as a Scopic System 3 However, where Leibovitz s photos of Jenner offer a self- conscious fantasy of mastery over misrecognition, Almodóvar s film imagines a scenario...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 109–125.
Published: 01 May 2021
... by the author, Paris, France, 14 January 2020. 29. Bernard Bastide, email correspondence with the author, 30 April 2020. Bastide recalled that the purchase price for 45 percent of the rights from Bodard's company was €23,000. The other 55 percent of Donkey Skin was owned by Paramount, so one can assume...
FIGURES
Journal Article
Camera Obscura (1991) 9 (3 (27)): 4–35.
Published: 01 September 1991
... in between fleecing and slaying; it denotes peeling back the skin to expose what lies beneath-clearly not a benevolent process, although not, I hope to show, as murderous as the literal flaying that takes place in the film. I use “of” in its double sense, meaning both “done to” and “done...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... into” differently colored hearts, minds, and skins and correctly recognize and avert crime. Yet as the biometrics historian Simon Cole reminds us, technologies such as fingerprinting, which seemed to offer this very solution, instead “reified the very crude racial categories that helped produce it.”2 When...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... for the subject, signals the continuing salience of the genitalization of the black male, or the comprehensiveness of black subjectivity as a function of the genital and/or the libidinal, evoking Frantz Fanon’s resounding statement in Black Skin, White Masks: “In relation to the Negro, everything takes...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 33–59.
Published: 01 December 2021
... to the rhythm of electronic music and checking herself out in a mirror. The camera focuses on Mia's queer, brown skin, which seems to become extended through and in her clothes and vice versa, recalling Hélène Cixous's comment that “clothing is skin. It is adopted skin, adoptive skin.” 17 Indeed, travestismo...
FIGURES
Journal Article
Camera Obscura (2003) 18 (3 (54)): 119–129.
Published: 01 December 2003
... extreme 122 • Camera Obscura self-mutilation or torture (she sews into a prosthetic covering over her neck, not into her actual skin), her poses and activities mimic the subtle, steady, and ubiquitous discomforts that women endure daily as well as the many forms of pressure—surgical, domestic...