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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 103–139.
Published: 01 September 2008
... speech, that the surge of weeping men in recent Israeli films–men who discuss their inability to cry or to stop crying, who parade their tears–might be read as an attempt by Israeli mainstream entertainment to deal with Israeli society's infatuation with victimhood and its tendency to conflate identity...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 101–135.
Published: 01 December 2012
..., a return to Austinian speech-act theory reminds us that the performative act strives to make real what is not yet real, to conjure forth and to confirm a new reality. In other words, the performative seeks to essentialize, to assert new truths at the level of the self and make them stick. In...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
... political speech, demonstrating the simultaneous insignificance and importance of the everyday. Her work therefore highlights the problematic of communicability that the excess of online textual expression presents while at the same time holding out the possibility that—through listening—engaged, dialogic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 1–27.
Published: 01 September 2017
... Horror after 9/11: World of Fear, Cinema of Terror (2011). © 2017 by Camera Obscura 2017 horror reassurance Jennifer Kent parenting speech acts Figure 1. Rituals of reassurance: Amelia (Essie Davis) and Samuel (Noah Wiseman) in Jennifer Kent’s The Babadook (Australia, 2014...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 93–117.
Published: 01 September 2016
... 2016 actors nonprofessional actors voice speech punctuation Bertolt Brecht Figure 1. Klassenverhältnisse (Class Relations, dir. Jean-­Marie Straub and Danièle Huillet, West Germany and France, 1984) “Actors Simply Explode”: To Act in the Cinema of Jean-Marie­ Straub and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 4–6.
Published: 01 September 1990
.... First, the “inexpressible” introduces a fun- damental split between speech and thought: language that is mute, cut off from speech and the speaking subject, unspeakable, as Ann Banfield puts it, but present in thought and in writing. This is, as David Rodo- wick writes of Michel Foucault’s...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 113–135.
Published: 01 May 2007
... blind, and I was too blind to see.  — Brenda Lee, “I’m Sorry” That is all I have to say on the subject. May I be allowed never to mention it again.  — Jean-Jacques Rousseau The persistent appeal of performative speech acts — “I plead,” “I declare,” “You’re fired!” — may lie within the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 186–191.
Published: 01 December 1982
... whose institutional framework he shares. And if the condition of Godard’s speech is not exactly silence, then it might better be characterized as what psychoanalysis calls parole vide, empty speech, which having no substance can only ex- press the relation which its...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 72–79.
Published: 01 September 1980
... “museum of [hysterical] symptoms”: “paralysis of the limbs with con- tractures and anaesthesia, severe and complicated disturbances of sight and speech, inability to take food and a distressing nervous cough.”l Dr. Josef Breuer had treated Fraulein Anna 0. several years before he collaborated...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 39–41.
Published: 01 May 1976
... mcu: medium close-up as: american shot s: spectator S: speech ms: medium shot +: camera angle N: noise mls medium long shot .: screen subject M: music Is: long shot x: camera location...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 297–300.
Published: 01 December 1989
... claiming filmic engagement through repulsion as well as attraction, occurs alongside the second which is conscious and vol- untary. IV. “I Say I Am: ’70s Feminist Performance Video” (1985) uses speech act and discourse theories to describe attempts by feminist artists to speak in the first...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1999) 14 (3 (42)): 50–69.
Published: 01 September 1999
... past. Here Clueless might be seen, however, as a potentially liberating departure from the customary translation of British lit. classics into cinematic postcards, realist works that strive to authentically represent the habits, speech, manners, and dress of the English landed gentry...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 12–19.
Published: 01 December 1982
...- acter and dialogue, Paul’s speech tends to “float,” and we can even ask if it is his speech (spoken in diegetic reality), or an incestuous wish (the speech of the unconscious). At the very least, “Do you ever feel like caressing hcr tits . . . ?” is not unambiguously assignable to him as a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1983) 4 (2 (11)): 148–149.
Published: 01 September 1983
... who are making speeches, writing articles, preparing programs, studying journalism and communication, and women's studies in all its disciplinary fields-or those who simply want to know what is happening in this world ofcommunication because it so deeply affects the lives of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 157–161.
Published: 01 December 1984
.... Mannoni is not the book’s author, but one of its voices. Le Symptbme is the transcript of Mannoni’s-oral examination for her application to the Doctorat D’Etat, France’s highest academic degree, and the book delivers not only her opening speech but also the speeches of her committee members...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 177–207.
Published: 01 May 2009
... a productive tool. Camera Obscura 2009 Beth Coleman is an assistant professor of writing and new media at the Massachusetts Institute of Technology. Her forthcoming book is titled Hello Avatar . Senator Barack Obama, “A More Perfect Union” speech, Philadelphia, 18 March 2008...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 145–153.
Published: 01 September 2012
... • demonstrate the victory of our Declaration, and the nerve it has tapped in our lm community. The last time I checked, that’s called free speech. I’ve got an idea. I’m inviting Robert Lantos to accompany me to tonight’s Spotlight screening of Life According to Agfa, by award- winning Israeli...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 184–193.
Published: 01 May 2008
... valedictory speech in which she remarked, “While I have relished the opportunity of being a member in this House, I am glad I don’t possess one.”1 The political and cultural implications of Georgina’s diva- ness became strikingly apparent to me at the San Francisco pre- miere of Georgie Girl (New...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 131–160.
Published: 01 December 1982
...- ing of the scene having a contagious effect. A condensed and theo- retical expression of this kind of false or deceptive representation is found in the shots of the horseman and the Indian in Vent d’Est. Voice and Speech In the samples we have just seen there...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 211–215.
Published: 01 May 1979
... rencontres, chance encounters, than rendez-vous, planned meetings) Anna’s speech is out of step with the situations. She asks the hotel clerk questions he is incapable of answering (“How did my mother know I would be here is more chatty than is necessary or seemly in explaining to...