1-20 of 480 Search Results for

spectator

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
×Close Modal
Sort by
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 40–52.
Published: 01 December 1989
....’” Copie Zéro 26 (December 1985 ). Tuer , Dot . “An Interview With Kay Armatage.” Cinema Canada 145 (October 1987 ). W5. “Female Spectatorship.” The Independent Eye 10 (Winter 1989 ): 30 –31. As Canadian as Possible: The Female Spectator and the Canadian Context’ Rhona...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 5–27.
Published: 01 December 1989
...Janet Bergstrom; Mary Ann Doane Copyright © 1990 by The Johns Hopkins University Press 1989 The Female Spectator: Contexts and Directions Janet Bergstrom and Mary Ann Doane “She’s a slippery character, of this we’re all agreed...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 52–66.
Published: 01 September 1988
... Film and the Female Spectator Lea Jacobs Mary Ann Doane, The Desire to Desire: The Woman's Film of the 1940s (Bloomington: Indiana University Press, 1987) While there are real differences in the ways feminists have analyzed the woman's film, there is a surprising degree of consensus...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 80–94.
Published: 01 September 1988
...Diane Waldman Copyright © 1988 by The Johns Hopkins University Press 1988 Film Theory and the Gendered Spectator: The Female or the Feminist Reader? Diane Waldman Like literary theory and criticism, film theory has moved from a notion of meaning immanent in the text to a concern...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 53–67.
Published: 01 December 1989
... Woman,” Flesh , Intervention 21/22 ( 1988 ): 4 8–53. Creed , Barbara . “Pornography and Pleasure: The Female Spectator.” Australian Journal of Screen Theory 15/16 ( 1983 ): 67 –88. Creed , Barbara . “Horror and the Monstrous-Feminine: An Imaginary Abjection,” Screen 27 , no. 2...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 77–111.
Published: 01 May 2007
... University Press. From X Marks the Spot: Chicago Gang Wars in Pictures (Chicago: Spot Publishing, 1930); Georges Bataille, review, Documents 2 (1930): 52 – 53 Undoing the Scene of the Crime: Perspective and the Vanishing of the Spectator Domietta Torlasco Un beau film: the crime of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1990) 8 (1 (22)): 28–49.
Published: 01 January 1990
...Lea Jacobs Copyright © 1990 by The Johns Hopkins University Press 1990 Reformers and Spectators: The Film Education Movement in the Thirties Lea Jacobs Public agitation against the film industry in the thirties was accom- panied by great anxiety about the ways movies...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 68–81.
Published: 01 December 1989
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... that contemporary directors activate cruel celebrity culture in three interrelated ways. I begin by discussing the spectator's role, a position from which the noncelebrity takes pleasure in witnessing the celebrity's destruction. The spectator's cruel desire to see more and more of the celebrity's...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
..., Imitation of Life stages for black and queer of color spectators originary traumas, in particular the formative (and compounded) experiences of racial and sexual shame. This essay seeks to reconcile the dissonant emotions evoked by Imitation of Life by reading the overidentifications of subaltern spectators...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
..., it may be that the film is substantially more open to the fluctuations and even deconstructions of the Oedipal relation, working through it while never, in fact, buttressing it. In noting that film texts provide (for) fantasy scenarios in which spectators are placed, however ambiguously, and through...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... rendered by montage or whip pans. The Snake Pit and Sorry, Wrong Number , like other films of the 1940s centered on female insanity, exploit the language of cinema in order to make spectators partake in their pathologized versions of the sensory world. This restructuring of perception by mental illness has...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 89–111.
Published: 01 May 2008
... bodies. This integration seems to be invested with limiting the potential positions from which spectators can approach the musical performance—most crucially, in preventing identification with singers' bodies. In this way, the integration of Oklahoma! participates in the tradition of the Wagnerian...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 27–63.
Published: 01 May 2016
...—terrains of collectivity, friendship, and even interspecies affinities, giving spectators glimpses into queer existential and political formations outside of a predominantly LGBT framework. Marc Francis is pursuing his PhD in film studies at the University of California, Santa Cruz. He works on...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
... knowledge in media, from the subjectivity of spectators to the subjectivity of filmmakers. Jinying Li is an assistant professor of film studies at the University of Pittsburgh. Her research focuses on the media culture of East Asia. Her essays on Asian cinema, animation, and digital media have been...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
...Ewan Kirkland The recent generation of My Little Pony has received popular and academic attention due to its visible following of young male enthusiasts. This article explores this so-called Brony phenomenon in terms of gender and age, cult spectator practices, fandom, masculinities, and the kinds...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... realistic illusion of the cinema and disrupt the viewer's identification with the screen—especially the male spectator's—and the construction of his (or her) coherent subjectivity. This “wounding” of the cinematic apparatus leads to the traumatization of viewers, who are forced to confront what they would...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... of black manhood. That is, the tape facilitates our understanding of how performances of race, gender, sex, and sexuality are equally induced by subject as by spectator. The tape not only speaks to the constitutive links between authenticity and spectatorship that pornography reveals but also to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 33–65.
Published: 01 December 2013
... a local appreciation of film through film festivals, associations with business and civic organizations, libraries and educational institutions, and radio broadcasts. In particular, through its monthly publication of film reviews, the Cleveland Cinema Club fashioned a reform-oriented spectator whose...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 63–91.
Published: 01 May 2017
... emphasizes the masochistic logic that structures biopolitics. Reading the masochistic behaviors of both Abramović and the performance's spectators through Gilles Deleuze's notion of the masochistic contract, this essay argues that the performance ultimately harnesses “living labor” in the service of the self...