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Journal Article
Camera Obscura (2013) 28 (2 (83)): 151–175.
Published: 01 September 2013
...Jonathan Cohn This article focuses on the birth of social networking and digital recommendation technologies and their relationship to current cultures of postfeminism and neoliberalism. These technologies, primarily designed to bring users in touch with other people and consumer goods, are tied...
View articletitled, Female Labor and Digital Media: Pattie Maes, Postfeminism, and the Birth of <span class="search-highlight">Social</span> <span class="search-highlight">Networking</span> Technologies
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for article titled, Female Labor and Digital Media: Pattie Maes, Postfeminism, and the Birth of <span class="search-highlight">Social</span> <span class="search-highlight">Networking</span> Technologies
Journal Article
Camera Obscura (2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... tendencies and in the process delve into the humanist epistemological and philosophical implications of his representational choices. Coincidental plots in this film create dense social networks among relative strangers, networks that operate to enfold or absorb strangers and thus effectively eradicate...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
... race discourse and the visual representation (or elision) of the face. As the most reproduced visual sign on the Internet, the face continues to operate as a threshold to public space. Facebook, the largest social networking site with more than 80 million registered members, has uploaded more than 4...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 161–195.
Published: 01 May 2010
...Anna E. Ward As faces become ubiquitous on the Web through social networking sites and YouTube, it is perhaps no surprise that an adult, subscription-based Web site has emerged seeking to capitalize on investing faces with sexual meaning. This article engages in a close examination of the Web site...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 65–91.
Published: 01 May 2016
... of subjectivity, collectivity, and desire. I argue that Surrogates exemplifies the view of technology as prosthetic enhancement, foregrounding technology-induced psychic exhaustion and libidinal depletion of the social body (the networked body)—a view that results in the call to restore human collectivity through...
View articletitled, Machinic Intimacies and Mechanical Brides: Collectivity between Prosthesis and Surrogacy in Jonathan Mostow's Surrogates and Spike Jonze's Her
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for article titled, Machinic Intimacies and Mechanical Brides: Collectivity between Prosthesis and Surrogacy in Jonathan Mostow's Surrogates and Spike Jonze's Her
Journal Article
Camera Obscura (2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... social networks RSVP method racial politics Figure 1. Taxi, North Adams, part of Haha’s Taxi (2003 – 4).
Courtesy of Haha
Slips, Breaks, and Tangles:
Creative Collaboration
and the Aesthetic Process
of Trans-Subjectivity
April Durham
As a form of creative practice...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... spaces and aesthetics for producing collective memory that differently configure spectatorial interaction and social intervention. Counterposing the hyperindustrialized military vision of the fictional reality TV show Drones with the social media–styled memory market TruNode, the film’s caricature...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 165–173.
Published: 01 May 2016
... concerned especially with questions of alterity, subjecthood, and community formation in its work. A self-described “socially conscious animation studio,” Lift is structured roughly along the lines of an artistic collective in which many animators freely contribute their skills and time in support of stop...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 1–29.
Published: 01 May 2023
...Patrick Flanery Abstract This article considers how The Ice Storm (dir. Ang Lee, US, 1997) reframes the politics of Rick Moody's novel of the same name and works via a network of symbols to align character Elena Hood (Joan Allen) with Hillary Clinton, suggesting an analogy between the scandals...
FIGURES
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Journal Article
Camera Obscura (2020) 35 (3 (105)): 88–115.
Published: 01 December 2020
... demanded in this socially networked world and connects the mate- rial stakes of the labor to a conventionally feminine set of preoc- cupations. It opens with a shot of Lacie jogging at dawn, her eyes trained on her smartphone as she responds to the postings of oth- ers. She is laboring at once on her body...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 169–170.
Published: 01 December 2013
... of Social Networking Technologies. No. 83: pp. 151 – 75
Huey Copeland
Photography, the Archive, and the Question of Feminist Form:
A Conversation with Zoe Leonard. No. 83: pp. 177 – 89
Kristen Fallica
More Than “Just Talk”: The Chelsea Picture Station in the 1970s.
No. 82: pp. 125...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 133–139.
Published: 01 December 2016
... research project on feminist code
with a posting on the HASTAC blog, she found herself harassed
on the social-networking and user-generated news site Reddit and
mocked on GitHub, a collaborative website where users develop
open-source software projects.7 She continued the conversation...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 314–318.
Published: 01 December 1989
... recirculate with
repressions and distortions the specific and various social networks of
an era. Polan, following Foucault, sees these networks or grids as
existing in tension with one another. I also have attempted to read
back and forth between film and the wider social...
Journal Article
Camera Obscura (2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
... scrutiny, though, it is not clear how Michel Foucault’s
architectural diagram of power maps onto present-day Internet
diagrams: are network users like Ringley visual or textual, pub-
lic or private, spectacular or social artifacts? Bringing theories of
subjectivity and media technologies to bear...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 65–97.
Published: 01 September 2021
... to these platforms’ hierarchical one-to-many format. Today, digital platforms condition articulations of taste, preference, belief, and affiliation on the fly, even programming their future developing. From the algorithmic push and pull of social networking to the perpetual leveraging of data about our spending...
FIGURES
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Journal Article
Camera Obscura (2016) 31 (3 (93)): 99–131.
Published: 01 December 2016
... to the dominant socioeconomic processes of
the present.
One of the most visible tendencies within the discourse of
so-called digital revolutions is an emphasis on communication —
not least, the capacity of social-networking platforms to facilitate
the sharing of information within activist...
Journal Article
Camera Obscura (2024) 39 (2 (116)): 189–218.
Published: 01 September 2024
... understood as a new style of online performance that involves people ‘amping up’ their popularity over the Web using technologies like video, blogs and social networking sites.” 17 According to Senft, self-branding is a central tactic through which microcelebrities “amp up” and commodify their images. 18...
FIGURES
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Journal Article
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... to the community and, in the process,
to yoke questions of textuality to that which features prominently
in cultural studies: an understanding of media as a site for not only
self-expression or even creative partnering but also community
building, social networking, and movement mobilization. Insofar...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
... is a product of dis-
course. Johnson suggests that a degree of mythologizing surrounds
both the narrative in which the series’ audience is positioned and
the meanings that it is made to bear. Popular lore on websites and
journalistic publications tends to obscure the “complex motiva-
tions, social...
View articletitled, “Little girls and the things that they love”: My Little Pony: Friendship Is Magic , Audience, Identity, and the Privilege of Contemporary Fan Culture
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for article titled, “Little girls and the things that they love”: My Little Pony: Friendship Is Magic , Audience, Identity, and the Privilege of Contemporary Fan Culture
Journal Article
Camera Obscura (2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
....
Both 35 rhums and Wendy and Lucy open in a train yard,
but in the latter film the tracks are a figure of division rather
than circulation, separating its heroine from familial and social
networks. Wendy and Lucy shares with Reichardt’s even more mod-
est, Super-16, seventy-minute...
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