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Image
in Her Body, Her Choice: Tough Girl Affect, Trump Support, and the 2020 Pandemic
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2023
Fig. 1. “My Body, My Choice.” Anti-mask protester at the Texas State Capitol in Austin, 18 April 2020. Photo by Sergio Flores/Getty Images
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Image
in Nonmaterial Overelaboration: Gender, Casting, and Camouflaged Labor in Pat Rocco's Promotional Travelogue
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2023
Figure 2. ONE Adventure flyer for California State University Long Beach, sociology course screening, 1973. ONE Incorporated Records (Coll2011-001). Courtesy of ONE Archives at the USC Libraries
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Image
in No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2024
Figure 3. Marina (Daniela Vega) is subjected to the scrutiny and cruel stares of the state and medical establishment. A Fantastic Woman (dir. Sebastián Lelio, Chile, 2017)
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in Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 4. Barbara at her computer under the Gotham clock. “A Little Knowledge,” Showcase ’94 , no. 12 (December 1994), DC Comics, 4. Scan provided by the Russel B. Nye Popular Culture Collection at Michigan State University
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Image
in Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 1. A Gotham street scene and Barbara at computer in her bedroom. “Oracle: Year One; Born of Hope,” The Batman Chronicles , no. 5 (Summer 1996), 7. Scan provided by the Russel B. Nye Popular Culture Collection at Michigan State University
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Image
in Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 2. Barbara stretching and flexing, wearing a stripy sweater, facing a computer monitor and keyboard. “Oracle: Year One; Born of Hope,” The Batman Chronicles , no. 5 (Summer 1996), 9. Scan provided by the Russel B. Nye Popular Culture Collection at Michigan State University
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Journal Article
Camera Obscura (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 (2012) 27 (3 (81)): 137–147.
Published: 01 December 2012
...Tess Takahashi This article examines the legacy of issues of representation in the International Experimental Media Congress held in Toronto in April of 2010, twenty years after the contentious 1989 International Experimental Film Congress. On the surface, the two events embraced the same stated...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 77–105.
Published: 01 December 2023
... pass as human and whose kin have been subjected to genocide, dislocation, and mutilation, but the film's reception largely misses the connection to the treatment of Indigenous Sámi people and transgender people within Nordic settler states. The article argues that Border 's ecstatic depiction of gender...
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Journal Article
Camera Obscura (2024) 39 (2 (116)): 1–39.
Published: 01 September 2024
...Whitney (Whit) Pow Abstract The span between 1973 and 1981 marks a number of significant changes in computer history, medical history, and queer and transgender (trans) history in the United States: the development of the earliest object-oriented graphical user interfaces used in the Xerox Alto...
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Image
in Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 3. Barbara typing “tak tak tak” and being interrupted by the “BAM BAM BAM” of someone knocking on the door. “A Little Knowledge,” Showcase94 , no. 12 (December 1994), DC Comics, 1. Scan provided by the Russel B. Nye Popular Culture Collection at Michigan State University
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Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... history and production n the United States. © 2008 by Camera Obscura 2008 Catherine Zimmer is an assistant professor of English and film and screen studies at Pace University. Her current research explores how reflexive cinema has focalized around the issue of surveillance.
Histories...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 77–105.
Published: 01 September 2009
... also been a sexual revolution? How did it mange to reform (or fail to reform) some of the state's most enduring institutions, marriage and the family? Has the revolution betrayed its promises to radically address the “woman question”? Has it perpetuated bourgeois values? Could the subjects and regimes...
Journal Article
Camera Obscura (2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
... ultimately collude to portray Africa as universally chaotic and Africans as universally oppressed. The filmmakers' good intentions notwithstanding, these two commercially successful films fall short and affirm Cameron's conclusion that Britain and the United States are not ready for a new cinematic Africa...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 161–171.
Published: 01 September 2010
... examines the laboring conditions and practices tantamount to slavery in the sugar plantations in the Dominican Republic (DR). It also addresses the complicity of state governments in human trafficking of Haitian migrants to the DR. The film also illuminates a global trend in which migrants, unable...
Journal Article
Why Isn't Michelle Lopez on Judge Judy ? Citizenship and Televisuality in Hima B.'s And I Do Survive
Camera Obscura (2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
... by the state. Drawing on contemporary television studies that link the genre of courtroom television to neoliberal governance, the article finally suggests that if (reality) television takes legal citizenship of its citizen-subjects for granted, And I Do Survive articulates precisely the gap between...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... an accompanying vocabulary for demarcating the limits of citizenship, subjectivity, and humanity. Finally, I argue that while subjectivity can be created through narrative tropes, we still need to question the desire for subjectivity and citizenship in violent state regimes. Fiona I. B. Ngô...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
...Peter X Feng Asian diasporic identities exist in a complicated tension with Asian nationalist identity formations, simultaneously affirming and disavowing the nation-state as constitutive of identity. Video maker Ming-Yuen S. Ma's work focuses on problematics of translation as a metaphor...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
... the state of the image. Alessandra Raengo is associate professor of moving image studies at Georgia State University. Her scholarship addresses the ontological implications of race in the field of vision. Recent publications include essays on Lee Daniels's cinema, on the idea of blackness...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 69–101.
Published: 01 May 2013
... contracts to repeat and return to the object of desire. In arguing that the ao dai (long dress) photograph as a copy-image of a lost or disappearing referent is central to a contemporary diasporic erotic — a feeling-state of disrupted history rendered (and recovered) in mythical terms through love...
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