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sound and sonic technologies

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Journal Article
Camera Obscura (2020) 35 (1 (103)): 1–37.
Published: 01 May 2020
... would flee, I subdue it.)20 For Cros, stilling beloved voices and making them repeatable beyond the too short hour was the impetus for creating an appa- ratus to record sound.21 Accordingly, and as with visual technologies, sonic technol- ogies begat a dense dialogue between ghostly mediums...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 151–163.
Published: 01 September 2021
... , in which Schneemann's experimentation with sound encouraged a unique kind of spatialization that pushed sensual, embodied packages of once-mute fur, paint, reflective surfaces, consumer products, and texts out into a complex corporeal-sonic field. Underlying the arc of this essay are at least two...
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Journal Article
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
... a consideration of the sonic composition of the polyvocal and polyrhythmic digital fragments. Documentary studies’ piecemeal adoption of sound studies through the increas- ing consideration of voice, music, and ambient soundscapes has not been accompanied by a related interrogation of associated prac...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
... too do these films experiment with other possibilities for cinematic form in relation to sonic indeterminacy. Records: Queer Pasts Postwar experiments in sound, the emergence of queer under- ground cinema, and public discourses on shifts in sexual mores are all important historical...
Journal Article
Camera Obscura (2019) 34 (3): 157–167.
Published: 01 December 2019
...Alyxandra Vesey This article argues that more scholarly attention should be paid to women’s contributions to the practice of “theme singing,” or the textual and industrial practices of using vocalists as sonic proxies for television characters by articulating programs’ thematic concerns...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 135–143.
Published: 01 September 2021
... of experiencing the work, has come at the expense of attention to Schneemann's voice. The essay reflects on the work of evoking Schneemann's voice through limited records in relation to the process of grief following the artist's death. Schneemann's “sonic shadow,” the essay argues, emerges through affirmative...
FIGURES
Journal Article
Camera Obscura (2003) 18 (3 (54)): 3–38.
Published: 01 December 2003
... Francisco, Tampa, France, and Belgium.1 An expression of the burgeoning feminism of the 1970s and proof of the increasing availability and popularity of low-cost video technology, the festival is uniquely situated at the inter- section of two histories, video’s and feminism’s, and yet it has...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
...Jennifer Fleeger This article argues that each new development in sound technology is accompanied by a mismatched woman — a figure with a voice that fails to gel with the image of her body. Because they are famous for having singing voices that startle listeners with their beauty and dexterity...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
... the fractured spaces of mass consumption during the first decade of sound filmmaking. But the ambivalent portrayal of the voice was not only a reflection of the new technologies that enabled its circulation, for another dimension comes into focus as we step back to consider the songstress as part...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 91–113.
Published: 01 May 2022
... in her work and in her body through multi-channel projection and “sticky” sounds, Rist works to dissolve the boundaries between artist, viewer, art, and technology. Kristeva defines the abject as precisely that which disturbs boundaries. 35 “It is a hundred times more laborious and difficult to create...
FIGURES
Journal Article
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
... voice in five recent games— BioShock (2007), Gone Home (2013), The Stanley Parable (2013), The Talos Principle (2014), and Firewatch (2016)—that illustrate the complicated connections between gender, games, technology, and the political. It then turns to the work of Super-giant Games, a small developer...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
... technologies of feminine modernity act as technologies of empire, creating pleasurable affects by incorporating the world into the nation and self. It then demonstrates how the limits of the technological approach to fantasy and spectacle are epitomized by the breakdown of Linda's daydream sequence, an attempt...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
... psychoanalysts as Guy Rosolato, Didier Anzieu, and Dominique Avron, Gorbman examines the ramifications of positing auditory space as the first psychic space. If sounds such as the mother’s heartbeat, digestion, and voice constitute a sonic environment even for the fetus...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 93–115.
Published: 01 December 2014
... another form of reality, of com- bination, emerged” (125 – 26). In her films, Martel privileges a sub- set of phantom audio-­visions that Chion calls “null extension,” or the shrinking of the sonic universe to the sounds heard by a single character. According to Chion, an extreme case of null...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... of the riots and assassinations, the protests and the drugs, instead of the angry words and hard-rock sounds, we were to hear something soft and smooth, and see something of wholesomeness and easy-handed faith?” This was the year that put the song onto the charts that made the Carpenters a household...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 93–127.
Published: 01 December 2007
... whose vocal source is not visible on the screen.33 While the coming of sound to the cinema did not herald the invention of the acousmêtre — after all, it was already present in the technologies of the gramophone, the radio, and the telephone — the cinema is uniquely equipped to deploy it to very...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 108–133.
Published: 01 January 1989
... of contemporary angst.3 Modern in- dustry, technology and media have so altered our contemporary un- derstanding of the dichotomy between illusion and reality, Teresa de Lauretis suggests, that “it is not by chance that all the nature-culture thresholds are being thematized and transgressed in recent...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... mother’s funeral, when a much younger Rose winked at him, and then to the death of his father, shot from behind by Rose as he was hitting Mikey for having cried at his mother’s funeral. The father’s smacks are cued to the sound of Rose’s moans and, as the violence cli- maxes, so does she. The two...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 93–119.
Published: 01 December 2017
.... In contradistinction to popular readings that view Yunioshi as a regrettable mark on an otherwise untainted film, the essay shows how the character of Yunioshi served not merely as a comedic stereotype but as a technology of race, sexuality, and gender that helped mediate the problems the producers encountered...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
... terms. Without the consequence of a thoroughly watered-down Euro-film. —Alfred Behrens, “New European Film and Modernity 1986 Sounding Off From September 1995 to December 1998, I worked as the film programmer...