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Camera Obscura (2019) 34 (1 (100)): 99–111.
Published: 01 May 2019
.... Copyright © 2019 Camera Obscura 2019 Chantal Akerman Shoah Jewishness mother-daughter dialogues multigenerational spatial aesthetics ...
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
... aesthetic works together with the spatial dimensions of McMansions (single-family houses characterized by massive square footage totals) to generate a sense of fear with particular resonance for a contemporary culture characterized by financial speculation, increased privatization, and retrenchment...
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
... into alignment. What this essay explores is a certain perversion of these forms of temporal matching — or what I am calling queer sound tracks: image-sound relations unfixed in ways that are not only dynamic aesthetically but that also evoke an affective, diachronic bond to the past. What is heard during...
Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
... in the film, which is itself precisely structured as a palindromic procession into and back through a series of mirrored spaces. Faces become more prominent in the film's second half, tasked less to reveal character than to convey graphic, affective, and historical tensions pertinent to the film's spatial...
Camera Obscura (1988) 6 (1 (16)): 9–46.
Published: 01 January 1988
..." for most Americans-the public was at least to some degree familiar with architectural modernism because 17 it was widely publicized through fairs, museum exhibitions, department stores, home magazines, and the rnovies In the years following World War II the spatial aesthetics established by modernists...
Camera Obscura (1990) 8 (3 (24)): 11–45.
Published: 01 September 1990
.... This epistemological problem was unthinkable without the corresponding birth of aesthetics as a separate domain within the province of professional philosophy. For speech to maintain its identity, and poetry its place as the highest art (as attested by philosophers from Hegel to Heidegger), meaning...
Camera Obscura (2006) 21 (2 (62)): 108–143.
Published: 01 September 2006
... that still characterizes contemporary German films such as Oliver Hirschbiegel’s recent engagement with the cult of Hitler, Downfall (Germany, 2004). Yet Tykwer’s films nevertheless point to a rup- ture, to an aesthetic momentarily freed from historical repetition. The melodrama of spatial, aesthetic...
Camera Obscura (2003) 18 (2 (53)): 57–91.
Published: 01 September 2003
..., close-ups of immense compositional sophistication and emo- tional force, constitute the ﬁlm’s aesthetic center. Her character is, in short, the very stuff of semantic stability. But spatial unity structures semantic stability in the visual ﬁeld, and the ﬁlm that represents this character does so...
Camera Obscura (2017) 32 (3 (96)): 121–154.
Published: 01 December 2017
... “The body’s texture is spatial; and reciprocally, the texture of space is corporeal.” — José Gil, “Paradoxical Body” “Orientations are tactile.” — Sara Ahmed, Queer Phenomenology “It is this tactile quality . . . that is essential to any lesbian aesthetic.” — Barbara Hammer, in Jacqueline Zita...
Camera Obscura (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
... status shines. Attenberg 's opening re-creates the opening of her first short film, Fit (Greece, 1994), revealing a consistently overlooked reference across her oeuvre and an image to which Tsangari repeatedly returns, an aesthetic and thematic throughline. The last line of Fit ponders...
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Camera Obscura (1989) 7 (1 (19)): 4–23.
Published: 01 January 1989
... thus coincide with aesthetic ambivalence, with in- stability of value in the circulation of objects and the mapping of space. The construction of the male body as spectacle here seems to depend on its articulation as part of a captivating consumer space. In its construction...
Camera Obscura (2021) 36 (2 (107)): 151–163.
Published: 01 September 2021
... 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 critical premises. One...
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Camera Obscura (2005) 20 (1 (58)): 1–31.
Published: 01 May 2005
... Manovich describes the compositional organization of multiscreen works as “spatial montage,” and he argues that the tra- dition of spatial narration in Western culture, from fresco cycles to narrative paintings, was suppressed by Fordist modes of pro- duction that instead emphasize sequential...
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... that the central female character experiences reverberate within the frame.”16 While the light and shadow might indicate, according to Richie, Kore-eda’s Western influence, the spatial structure of this and comparable shots also reveals indebtedness to Japanese aesthetic forms: 76 • Camera Obscura...
Camera Obscura (1985) 5 (1-2 (13-14)): 3–27.
Published: 01 September 1985
... in mythological painting: white for women, bronze for men), or the different states of consciousness indexed by their respective positions. The spatial division itself is constructed around the figure at the center of the painting, Dionysos. With his arms spread out on both sides of his body...
Camera Obscura (2019) 34 (3): 31–61.
Published: 01 December 2019
... of production and reception, I argue that the content and form of TV in its developmental years directly contextualize industry and society. In its first decades of mass use, television refigured spatial relationships by creating an uncanny liminality between the public sphere of commerce and entertainment...
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
..., and intimacy, an articulation that requires new political strategies.6 Put in Parks’s terms, the film employs blackness “not just as a subject, but as a platform, eye and telescope,” creating an experimental spatial aesthetic to interrogate shifts in the rela tionships among private, domestic...
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
... but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose...
Camera Obscura (2004) 19 (3 (57)): 125–155.
Published: 01 December 2004
..., domestic space— and the female protagonist’s place within it—is subtly altered. This kind of spatial adjustment, achieved via cinematography and mise-en-scène, points to the way in which the ﬁlm’s treatment of narrative space is key to understanding Haynes’s larger cinematic project. As in his earlier...
Camera Obscura (2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
.... In the spatialization and temporalization of love and loss, we find an erotic aesthetics of partial presence and ambiguous pleasure. In Roland Barthes’s words, “It is this flash itself which seduces, or rather: the staging of an appearance-as-disappearance.”2 In appearance-as-disappearance...