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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
...Juliana Chang This essay explicates how Mei Li (Miyoshi Umeki) and Linda Low (Nancy Kwan), the Asian migrant and Asian American female leading characters in the film Flower Drum Song (dir. Henry Koster, US, 1961), oscillate between embodying the fantasies of American modernity and exposing the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 42–49.
Published: 01 December 1980
...Marguerite Duras; Susan Suleiman © 1980 by Camera Obscura 1980 ∗Translated and published with permission of Editions Albatros, from “Notes sur India Song,” Marguerite Duras (Paris: Editions Albatros, 1975). Notes on India Song* Marguerite Duras I make films to occupy my time. If I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1981) 3 (1 (7)): 110–127.
Published: 01 May 1981
...Susan Clayton; Jonathan Curling © 1981 by Camera Obscura 1981 ∗Please see Elizabeth Cowie's article on The Song of the Shirt in Camera Obscura , no. 5 for a description of the film, and the figures and movements it refers to, e.g., nineteenth-century philanthropy, Lord Ashley, Chartism...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 86–97.
Published: 01 September 1980
...Elizabeth Cowie © 1980 by Camera Obscura 1980 The Song of the Shirt (Susan Clayton and Jonathan Curling) Elizabeth Cowie D.W. Griffith apparently made a film called The Song of the Shirt in 1908, based like that of the Film and History Project’s film, on the ballad...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2007) 22 (3 (66)): 171–178.
Published: 01 December 2007
... Deutsches Filminstitut ARCHIVE FOR THE FUTURE Sad Songs of Nitrate: Women’s Work in the Silent Film Archive Jane M. Gaines The first phase of feminist film theory elaborated the gaping wound that was women’s structural position in culture, but there are other...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2018) 33 (2 (98)): 69–103.
Published: 01 September 2018
... in Richard M. Sherman and Robert B. Sherman’s song “Sister Suffragette,” highlights some of the most significant and problematic pro-suffrage tactics developed in Britain and the US. It also reveals the characterization of Mrs. Banks (Glynis Johns) to be deeply influenced by misogynistic anti...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
...Jean Ma In the 1950s and 1960s, film songs were a ubiquitous feature of Hong Kong cinema, and their performance was the exclusive domain of singing actresses. One of the biggest screen stars and recording artists of this era was Grace Chang. Chang made her debut in Mambo Girl (dir. Evan Yang [Yi...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 129–159.
Published: 01 December 2015
...Usha Iyer Though popular Hindi cinema is frequently identified by its song-and-dance sequences, little has been written specifically about film dance. This article analyzes film dance and female stardom in Hindi films of the late 1980s and 1990s through an examination of the star text of Madhuri...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
...David Copenhafer In David Lynch's Blue Velvet, music is a key component of the film's intricate staging of gender and sexuality. “Mourning and Music” interprets four scenes in which characters either sing songs or imitate singing. It argues that the unsettling appearance of gender and sexuality...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... an “unperforming of the self” through the cultivation of an impersonal intimacy that deferred a fixed subjectivity and frustrated the racial expectations of her audiences. She developed this impersona through three interlocking tactics: a disarticulation of self and song; a reversal of the psychic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 154.
Published: 01 December 1980
... © 1980 by Camera Obscura 1980 154 Index Camera Obscura/5-6 Bergstrom, Janet fie Dancing Soul of the Walking People (Paula Gladstone). Vol. 2, no. 6; pp. 113- 11 8. Cowie, Elizabeth fie Song ofthe Shirt (Susan Clayton and Jonathan Curling). Vol. 2...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 3–5.
Published: 01 December 1980
... © 1980 by Camera Obscura 1980 Editorial Although Marguerite Duras is well-known and influential in France- India Song has been playmg continuously in Paris since it was released in 1975, and several books and special issues of magazines devoted to her work have appeared in French in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1990) 8 (2 (23)): 148–175.
Published: 01 May 1990
...! I am saved! Julia Ecklar, “Born Again Trek” Julia Ecklar’s song, “Born Again Trek,” expresses sentiments shared by many within the fan community upon the release of Star Trek II: The Wrath of Khan. The first generation Star Trek fans had waited for the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
.... Recall, for example, that the song-­dance sequences characteristic of Bolly­ wood film grammar appear only in the epilogue, almost as an afterthought.5 While Moulin Rouge!’s visual excesses superficially resemble Bollywood style, prompting critiques like those of Cub- bitt...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 50–53.
Published: 01 December 1980
... Night) or were written with various representationsin mind (such as India Song-texte-thkitre- film)and are therefore sometimes listed as theater, novels, or film sce- narios (such as De‘truire, dit-elle). In some cases, adaptations of novels or scenarios have been filmed by other people...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 3–4.
Published: 01 May 1979
... Avant-Garde.” As preparation for the conference, in the three weeks preceding it, the Co-op had screened several films which have been important to our work: Yvonne Rainer’s Film About a Woman Who.. ., Jackie Raynal’s Deux Fois, Chantal Akerman’s News from Home, Marguerite Duras’s India Song...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 242–243.
Published: 01 December 1982
.... Braidotti, Kosi and Jane Weinstock New French Feminisms: Some Points Re-Viewed. Vol. 3, no. 7; pp. 144-150. Clayton, Susan and Jonathan Curling Feminist History and The Song ofthe Shirt. Vol. 3, no. 7; pp. I I 1-127 Curling, Jonathaln and Susan...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1981) 3 (1 (7)): 3–5.
Published: 01 May 1981
.... From the vantage point of a different and suggestive textual sys- tem, Lea Jacobs approaches the elusive question raised in previous analyses of films as different as Psycho, The Pirate, The Most Dangerous Game, and India Song-the relationship between a textual system of enunciation, woman’s...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
... topics for public media discourse. Dwelling Narrowness portrays three couples: Song Siming (Zhang Jiayi) and his wife, who are in their forties; Guo Haiping (Hai Qing) and Su Chun (Hao Ping), who are in their thirties; and Guo Haizao (Li Nian) and Xiao Bei (Wen Zhang), who are in their...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
... music videos, in which a filmmaker cre- ates images to illustrate a song, vidders use music to interpret a visual source; in other words, the song tells the spectator how to understand the montage the vidder has constructed. Vids are therefore a form of inkind media criticism...