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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 71–103.
Published: 01 May 2006
... the wanted poster. Figure 1. Louis Manigault, runaway notice for Dolly, 1863. Southern Historical Collection, Library of the University of North Carolina at Chapel Hill Missing Dolly, Mourning Slavery: The Slave Notice as Keepsake Rachel Hall On the evening of 7 April 1863, a house...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
... television. © 2014 by Camera Obscura 2014 Figure 1. Haizao (Li Nian) and her older sister Haiping (Hai Qing) talk about Haizao’s future in the big city in the small room that Haiping rents. Dwelling Narrowness (Wo ju, syndicated [China], 2009) Slaves of the House and Victims of Love: New Life and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 184–185.
Published: 01 December 2014
...: Youth and Valeria Gai Germanika’s Films and Television. No. 85: pp. 59 – 79 Huike Wen Slaves of the House and Victims of Love: New Life and Relationship Challenges in Dwelling Narrowness. No. 86: pp. 35 – 57 doi 10.1215/02705346-2827235 ...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1996) 13 (1 (37)): 69–91.
Published: 01 January 1996
... professor played by the director, retells the Candyman myth as an historical narrative: Candyman was the son of a slave. His father had amassed a considerable fortune from designing a device for the mass-producing of shoes after the Civil War. Candyman had been sent to all...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 7–35.
Published: 01 May 2009
... people, rendering some mere objects to be exploited, enslaved, measured, demeaned, and sometimes destroyed.7 In the US, racist theories maintained the contradiction at the heart of the nation’s founding: that of all men being created equal and black slaves counting as three-fifths human (thus...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2002) 17 (1 (49)): 1–29.
Published: 01 May 2002
... between the industry as a whole and the reform move- ment that sought to uplift it. Based on the public scandal over the white slave trade and lurid tales of innocent girls seduced and then sold into a life of prostitution, the film provoked a struggle over censorship and female spectatorship. As...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
... Jemima (1972) uses the familiar spectacle of the happy mammy. A version of the fictional character created as a justification for Black slavery in the United States, Aunt Jemima exhibits these general characteristics as the head female house slave: she is obese, eager to serve, made to order...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1996) 13 (2 (38)): 116–131.
Published: 01 May 1996
... African customs and practices survives. Like the African griot to whom she compares herself and from whom she is descended, and like the female slave that she once was, whose role was to remember the family genealogy because no one else would, Nana's responsibility is both to interrupt myths about...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 67–107.
Published: 01 May 2009
... racialized commercial imagery in ear- lier historical periods generally falls outside of the ideological ap- paratus I am describing. In the eighteenth century, for example, images of Native Americans or African slaves used to advertise Virginian tobacco were understood to refer to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 246–248.
Published: 01 December 1989
... which to read. I, for one, do not even “read” against the grain of those members of the general public who might be considered media dupes or slaves, inasmuch as I gather insights from that part of my own personality which is as susceptible as anyone else’s. That is, I prevent what I have to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2002) 17 (3 (51)): 1–29.
Published: 01 December 2002
..., a murderous struggle ensues, which ends only when one of the two decides that life is more important than recognition. The latter then acknowledges the other as “master” and steps into the position of “slave.” Hegel is quick to point out the impossibility of the posi- tion in which the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 177–207.
Published: 01 May 2009
... perfectibility in terms of himself, as an ex-slave, and of America as a nation on the cusp of civil war.11 Obama’s use of the autobiographical may be one of the few rhetorical markers that link him to a tradition of African American oratory, in which, historically, one was the subject and the actor of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2004) 19 (2 (56)): 47–73.
Published: 01 September 2004
... or Mammy.17 Legal scholar Regina Austin notes that Jezebel was in white ideology “the wanton, libidinous black woman whose easy ways excused white men’s abuse of their slaves as sexual ‘partners’ Diva Traffic and Male Bonding in Film • 59 and bearers of mulatto...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 108–132.
Published: 01 September 1991
... to a human-known as a Replicant. The Nexus replicants were superior in strength and agility, and at least equal in intelligence, to the genetic engineers who created them. Replicants were used off-world as slave labor, in the hazardous exploration and colonization...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 157–191.
Published: 01 May 2012
... as a premier Cuban and Latin American #29;lmmaker, particularly his internationally acclaimed “slave trilogy” about nineteenth- century slave uprisings in Cuba: El otro Francisco (The Other Francisco, Cuba, Rancheador (Slave Hunter, Cuba, and Maluala (Cuba, This trilogy boldly contests tra...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 30–67.
Published: 01 May 1988
.... . . . (OED) What is the “truth” or “right” from which perversion turns aside, and what does it improperly use? The OED goes some way towards an- swering these questions when it quotes, by way of illustration, part of a line from Francis Bacon: “Women to govern men . . . slaves freemen . . . being...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2000) 15 (1 (43)): 95–121.
Published: 01 May 2000
... of the estate to pay off her father’s debts. The film then racializes and exotically objectifies her as she is put on the auction block, sold into slavery, and bought by wealthy New Orleans former slave trader Hamish Bond (Clark Gable). Manty...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1999) 14 (3 (42)): 124–159.
Published: 01 September 1999
... frontier zones. In the last century and a half, at least from the per• spective of US culture, the fictive cannibal has migrated from the early colonies, to the south seas, to whaling ships in search of the great white whale, to mutinous slave ships, to the stages of P. T. Barnum's traveling American...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1986) 5 (3 (15)): 137–164.
Published: 01 December 1986
... Hintze. Briefly summarized, the story goes like this: Metropolis is a gigantic city of the future, filled with enormous skyscrapers. Workers are housed below ground, along with factories and machinery. There they live a hellish existence as slaves subservient to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1993) 11 (2 (32)): 102–123.
Published: 01 September 1993
... notion of a black man 115 at an auction, allowing Anthony to comment on slave history. In this way, popular culture is a foil not only to gender norms; it also allows the series to address the South’s racist legacy, insisting the “grand ole’ South” was not so grand for everybody. When...