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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1996) 13 (1 (37)): 69–91.
Published: 01 January 1996
...Aviva Briefel; Sianne Ngai Copyright © 1996 by Indiana University Press 1996 "How much did you pay for this place?" Fear, Entitlement, and Urban Space in Bernard Rose's Candyman Aviva Briefel and Sianne Ngai Is it a privilege to be haunted, or...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 243–274.
Published: 01 May 1997
...Tabitha Goode Copyright © 1996 by Indiana University Press 1997 Camosaur 2 (Louis Morneau, 1995) Roswell-The Footage: Alien Autopsy (1995). Abstract Representational Space: Uncanny Aliens and Others (Pandora, or Prometheus’s Return) Tabitha Goode...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 9–46.
Published: 01 January 1988
...Lynn Spigel Copyright © 1988 by the Johns Hopkins University Press 1988 Better Hom es and Gardens 31 (October 1953 ), p. 8 Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948-1955 Lynn Spigel Between the years 1948 and 1955...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1989) 7 (1 (19)): 4–23.
Published: 01 January 1989
...Sharon Willis Copyright © 1989 by The Johns Hopkins University Press 1989 To Live nnd Die in LA. (William Friedkin, 1985) Disputed Territories: Masculinity and Social Space Sharon Willis A cop stealthily enters the tract house bedroom of his occasional lover, a young blond woman...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 35–69.
Published: 01 December 2001
... Secretly Negotiating Contemporary Space in the Lesbian-Bar Documentary Kelly Hankin In the introductory essay of “Lesbians and Film,” a special section of Jump Cut published in 1981, editors Edith Becker, Michelle...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1994) 11-12 (3-1 (33-34)): 42–75.
Published: 01 May 1994
...Eithne Johnson Copyright © 1994 by Indiana University Press 1994 Theresa Saldana in Confessions of Crime. Lifetime’s Feminine Psychographic Space and the “Mystery Loves Company” Series Eitbne Johnson Since its debut in 1984, Lifetime Television has been carving a niche in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 111–135.
Published: 01 May 2014
... polarized reception. The author argues that the film occupies an in-between space as a result of its movements between different genres, audiences, and agendas. Reading The Kids Are All Right in relation to Cholodenko's previous films, the author examines how it tracks, explores, and is marked by the spaces...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (2 (29)): 178–213.
Published: 01 May 1992
...Constance Penley Copyright © 1992 by Indiana University Press 1992 Spaced Out: Remembering Christa McAuliffe Constance Penley This was the first sick joke I heard about the Challenger explosion: What were Christa McAuliffe’s last words? “Hey, guys, what’s this button...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2004) 19 (3 (57)): 125–155.
Published: 01 December 2004
... editor for a small documentary film company. Xander Berkeley and Julianne Moore as Greg and Carol White in Safe. Courtesy Killer Films Dangerous Spaces: Safe Susan Potter For me, the problem is always in content; we want to define the perspective of a film solely through its content, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 131–157.
Published: 01 May 2011
...Irene Gedalof Where do spaces of the home figure in contemporary studies of transnational, migrant, and diasporic cinema? According to Hamid Naficy, “accented,” exilic, and diasporic cinema primarily evokes a state of “permanent deterritorialization,” producing cinematic languages of discontinuity...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
... argues that Ma's videos explore the Chinese diaspora as a space where desire and estrangement from landscape are articulated in narrative form. Since queer sexuality problematizes nationalistic identification, queer diasporic narratives express a profound ambivalence toward space. Feng concludes that...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
...Claire Perkins At first glance, the US indie sector appears to defy Manohla Dargis's 2008 identification of a “new, post-female American cinema.” A significant number of women directors develop female-driven films in the industrial and aesthetic space between mainstream and avant-garde or...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
...Kristen J. Warner This article explores the interstitial spaces between positive and negative representations of black womanhood on reality television. It argues that regardless of the presence of supposedly positive images in media, if audiences choose to see black women as “loud,” the symbolic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 37–65.
Published: 01 May 2009
...Jennifer González Contemporary digital artists have been exploring the function of the face and its relation to public space for several decades. This essay offers a close reading of artworks by Keith Piper, Nancy Burson, Keith Obadike, and the collective Mongrel that address the relation between...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 27–63.
Published: 01 May 2016
... to bring longings for collectivity, without an identitarian focus, to the foreground of political consciousness. These filmic examples thus struggle to find a space for the queer collective in place of more traditional modes of coupled romance and sex. They reexamine naturalized and commonplace...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... by the greater economic insecurity that middle-class women have been facing post–Great Recession but also by a variety social factors that generate feelings of immobilization and isolation. Abjection is often a principal sign of these characters' precarity—they inhabit spaces where they often recoil...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 29–61.
Published: 01 September 2017
... the conventions and preoccupations of pornography and the avant-garde while straddling the mainstream and the margins of pornographic production. In exploring such liminal spaces, this article redresses the myopias both of rigidly anti-porn stances that fail to consider adult video's subversive...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... audience can see all of its component pieces rather than a finished, curated product. Finally, as Coffee is frequently performed at games conferences and fan conventions, it creates a layer of metacommentary wherein participants have a mediated space in which to explore particular issues brought on by the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2018) 33 (1 (97)): 29–55.
Published: 01 May 2018
...Anne M. Royston Reading Avital Ronell’s unconventionally designed The Telephone Book implies reading material form as well as semantic content. Such a reading emphasizes the book’s typographical illegibilities, which become the figure for the space between person and thing. These illegibilities...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 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 of...