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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 88–107.
Published: 01 September 1991
...Elissa Marder Copyright © 1992 by The Johns Hopkins University Press 1991 Blade Runner (Ridley Scott, 1982). 0 1982 The Ladd Company Blade Runner’s Moving Still Elissa Marder In the decade that has elapsed since Blade Runner’s first commercial release, Ridley Scott’s 1982...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 98–124.
Published: 01 September 1990
...Raymond Bellow Copyright © 1991 by The Johns Hopkins University Press 1990 Persona (Ingmar Bergman, 1966) The Film Stilled Raymond Bellour If ever I say to a fleeing moment: “Stay, beautiful moment, don’t pass away!” then you can...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 137–147.
Published: 01 December 2012
... that support experimental art practices. However, one surprising continuity emerged in discussion at the 2010 congress: namely, the still fraught question of what constitutes adequate representation of minority voices. Despite the widespread tendency to assume that identity politics and representation...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 169–179.
Published: 01 December 2012
..., as no other event has, that there are different bourgeoisies and different undergrounds and they can clash in many ways. Just as we still live with the heritage of May 1968 in Paris, in the experimental film world so too we still live with the aftermath of EXPRMNTL 4 in 1967 in the small town of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... gained popularity, queer Asian cinema still exists primarily as a festival category representing a collection of films produced outside of particular national and industrial contexts. The limited scholarship on queer Asian cinema reflects the dominance of a national critical approach. Such an approach...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... (Duma). Consequently, Germanika has become visible as an auteur who operates simultaneously between several historical, conceptual, and industrial formations: as a female director in a still male-dominated post-Soviet cinema industry, as an independent director in a production landscape defined by large...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 187–201.
Published: 01 May 2016
...Ariella Azoulay The growing literature and catalogs on photographic collaboration, participation, and collectivity, which are part of the proliferation of artistic projects that assert collaboration as their goal, still mainly focus on photographers who initiate collaborative projects. The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
... antiaesthetic qualities of countercinema. These practices draw on disparate value systems, but both reject decorative composition. Likewise, while feminist and queer theories have often valued spectacle and surface, a structuring iconophobia can still underwrite even radical accounts of representation. By...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
... the end of the analysis Blade Runner still deserves the qualifier canonical —as so many university courses presently attest—it will have less to do with the film's ability to be explained through the artifact of postmodern theory than it will with the film's serving as an index of the demise of the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 1–39.
Published: 01 September 2010
...Mary Celeste Kearney Despite feminists' criticisms of “girl games'” gender essentialism in the 1990s, many contemporary manufacturers of children's goods are still relying on traditional gender norms to reach female youth. In an effort to better understand this phenomenon, this article focuses on a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
... Africa in two celebrated twenty-first century films, The Constant Gardener and Blood Diamond , and questions whether problematic archetypes still hold in the new millennium. By reading both films as noir thrillers with humanitarian agendas, the article highlights their subversive potential to “enlighten...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... on psychoanalytic theory, this article also constitutes a preliminary response to Jacques Derrida's Archive Fever and its question about the future of the archive. If the archive (both of cinema and of psychoanalysis) still privileges the lineage that runs from Oedipus to Freud, here I turn to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... masculinity as being still underscored by a racial, sexual authenticity coded somatically in the “body” of the black male genitals. Jimi Hendrix: The Sex Tape shows us that to really understand how pornography functions as a critical medium in the production of racialized, gendered, and sexualized subjects...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... knowledge and create 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 91–121.
Published: 01 September 2011
... without a veil, adapting their advertising accordingly. While this may seem straightforward, the complexity lies in the extent to which women's hair is considered “unrepresentable” in practice and in the paradoxes of presenting the veil on-screen while still demonstrating the product's benefits. A...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 198–210.
Published: 01 May 1979
...-ops in Paris.) But whatever changes in the industry were brought about by May '68, they did not really affect me because there was still that resistance to a woman working on camera, so that in 1969 and 1970 the only person 1 really worked for as a cameraperson was Marcel Hanoun. Besides there...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 147.
Published: 01 September 1977
... Goddess Mut, illustrations from Lanzone (1882-6), plates cxxxvi. 64-65: Frame enlargements from Appetitd'oiseau by Peter Foldes byB. Augst. 75: Photograms from I Confess, Rear Window, North by Northwest, courtesy of the Museum of Modern Art Film Stills Archive. PhotogramfromPsycho, thanks to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2003) 18 (3 (54)): 1.
Published: 01 December 2003
..., “between the materiality of the medium and its expressive and political proper- ties” for women. The contributions to this dossier on women and video invoke North America in the 1970s, because many of the issues that still haunt the medium were explored by women with remarkable force and insight...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 160–164.
Published: 01 May 2008
.../Italy, 1968) era, and I think it’s important that that film wasn’t my introduction to your star image (I still love the costumes, though). Although I’d like to claim that I first discovered you in Klute (dir. Alan J. Pakula, US, 1971), I’m pretty sure it was your role as the stunning...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 112–119.
Published: 01 December 1980
... the varylng tones of the barred shadows faliing on them, they walk with a kmd of floating rhythm, in slightly slowed motion. Camera It is relevant to know that the filmmaker was first a still photogra- pher. As she says in her own words, following ths article, she...