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Camera Obscura (2019) 34 (3): 157–167.
Published: 01 December 2019
... and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers...
Camera Obscura (2021) 36 (3 (108)): 89–103.
Published: 01 December 2021
... see demonstrated in the film and that motivates this weft of ideas, influences, and women's creative labor. These pieces—Hammer's voice and the nature of her question, Deren's soundtrack and words as well as her seeming answer to Hammer's question—are woven together, actuating suggestive...
Camera Obscura (2000) 15 (2 (44)): 75–103.
Published: 01 September 2000
... cinéma it is the shadowy figure of Godard with his voice-over dominating the soundtrack that guides the viewer through the barrage of images. In each instance, though, these characters are on the margins. By contrast, in JLG/JLG...
Camera Obscura (1977) 1 (2 (2)): 105–114.
Published: 01 September 1977
..., are intercut with shots of the newspaperman and Odette listening to the soundtrack of the film. THE IMAGE OF THESE SOLDIERS IN UNIFORM, AN ARMY WHICH WAS ALREADY AN ARMY OF THE PEOPLE, WHISTLING THE INTERNATIONAL. This section...
Camera Obscura (1976) 1 (1 (1)): 128–139.
Published: 01 May 1976
... and then the end a pause sosudden you could float up on it. INTERVIEW (1974) 7 min. ; color; 16 mm; silent. 133 Superimposed images of a violinist playing in a park (a friend who has done a couple of her soundtracks). "A way of saving something of that person." (Laughlin) SOME...
Camera Obscura (2007) 22 (2 (65)): 140–143.
Published: 01 September 2007
..., providing its most recognizable soundtrack with hits like “You Make Me Feel (Mighty Real “Dance (Disco Heat and “Do Ya Wanna Funk.” But his diva persona also symbolized, more broadly, the 1970s subcultures of glittery, druggy, self-celebrating fantasy worlds where gender was something you could try...
Camera Obscura (1990) 8 (3 (24)): 139–161.
Published: 01 September 1990
.... The soundtrack-the noises, the music, the whispering, but above all the offscreen voice-will permit things to be put back in order and will allow the reinscription of transparency into the opacity of the film text; it will reinject subjectivity and identity into the a-subjectivity and the embryonic...
Camera Obscura (1977) 1 (2 (2)): 131–136.
Published: 01 September 1977
... in a stiffballroom dance) : wehear on the soundtrack 'slinky', 'sexy', 'stubby' , .smutty,, 'silly', 'spiky', 'silvery', 'snobby', and so on. The women cut throughthe frame acting out these roles. Then the word is 'happy' : we hear lots of off-screen laughter and the image disappears. Another...
Camera Obscura (2002) 17 (2 (50)): 155–189.
Published: 01 September 2002
... because they are always shown as smooth, point-of-view sequence-length shots distinct from the range of shots representing the ﬁlm’s “real- ity” and because they always include a complex soundtrack that functions as a multicharacter voice-over. The SQUID soundtracks are built out of diegetic sound...
Camera Obscura (2002) 17 (1 (49)): 31–71.
Published: 01 May 2002
... Art “Cinema at Its Source”: Synchronizing Race and Sound in the Early Talkies Alice Maurice One of MGM’s publicity photos for King Vidor’s Hallelujah! (US, 1929) features two of its stars, Victoria Spivey and Daniel Haynes, looking at a piece of the movie’s soundtrack. Entitled...
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... film set entirely on a sparse but warmly lit stage to a soundtrack of Nina Simone s song of the same title, features dancer Linda Martina Young s choreogra- phy of four enduring Black female archetypes the strong Aunt Sarah, the tragic mulatto Saffronia, the seductive Sweet Thing, and the angry...
Camera Obscura (1995) 12 (3 (36)): 118–133.
Published: 01 September 1995
... and to a particular racial heritage in a manner that is simultaneously aware of the past (both of the events of the past and of past depictions of race) and excited about the future. And, on the other hand, its visuals and soundtrack are complex and ambiguous: you avoid...
Camera Obscura (2003) 18 (1 (52)): 85–127.
Published: 01 May 2003
... on screen. The heterogeneous montage of visual fragments, moments, AIDS and Gay Cinephilia • 97 and details on the ﬁlm’s image track is mirrored by its complex soundtrack, which combines elegiac music by Shostakovich with an eloquent voice-over commentary...
Camera Obscura (2017) 32 (2 (95)): 29–61.
Published: 01 September 2017
... ejaculating on his partner’s face, and the standard end- ing to mainstream porn sex).31 There is little about the film that could be described as genuinely alternative to industry conven- tions, aside from the soundtrack featuring indie musicians like Har Mar Superstar, the occasional setting (e.g...
Camera Obscura (1979) 1-2 (3-1 (3-4)): 227–231.
Published: 01 May 1979
... any of the “charac- ters” - Leonie herself or her mother and father. The use of natural sound to capture the moments in which the child begins to enunciate is set against a “voice-over” soundtrack in which the mother’s description of her feelings is questioned...
Camera Obscura (1993) 11 (1 (31)): 71–95.
Published: 01 May 1993
.... Significantly, through a final false match on action Sembene allows the bilingual tensions of the sequence to invade the enunciative mechanism of his film as a whole. In the dialogue that dominates the soundtrack during these shots, Yay Bineta concludes her tonguelashing of El Hadji by gesturing...
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... of “(They Long to Be) Close to You” knell on the soundtrack as the ﬁlm cuts to the inside of a Copyright © 2004 by Camera Obscura Camera Obscura 57, Volume 19, Number 3 Published by Duke University Press 57 58 • Camera Obscura recording studio. The camera pans to show Karen in the booth...
Camera Obscura (1991) 9 (1-2 (25-26)): 274–295.
Published: 01 September 1991
..., the opening sequence, whose visual tension is augmented by Lynch’s characteristically overloud and parodically intrusive musical soundtrack, is linked with the first love scene between Lula and Sailor by the very same music. In the shock created by the matching of sex and violence as one scene...
Camera Obscura (1992) 10 (3 (30)): 76–91.
Published: 01 May 1992
..., but rather explicitly articulated and acted out in the form of a slapstick-or lipstick-routine (and where the pet leopard that is “Baby” from the earlier film is heard roaring on the soundtrack). Perhaps there is no way around this. As Shoshana Felman says in Writing and Madness, “entering...
Camera Obscura (2005) 20 (1 (58)): 1–31.
Published: 01 May 2005
... for the spectator at a basic cogni- tive level. The difﬁ culty of its form is offset by seductively high production values, including dense and melodious sound of cin- ematic timbre and volume (the soundtrack, which is on only one of the discs, exerts a strong unifying force on the images). Lev...