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soundtracks
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Journal Article
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...
Journal Article
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...
FIGURES
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
Journal Article
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...
