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Journal Article
Camera Obscura (1980) 2 (2 (5)): 72–79.
Published: 01 September 1980
...Constance Penley The Story of Anna 0.:A Study on Hysteria (Terrel Seltzer, 1979)
The Story of Anna 0.:
A Study on Hysteria
(Terrel Seltzer)
Constance Penley
“At the time of her falling ill [I 8 801, Fraulein Anna 0. was twenty-one
years old.” Thus begins the case history...
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/10.1215_02705346-9052914/3/s_cob9052914figure1.png?Expires=2147483647&Signature=yk51DI0MfaYsF2cvKo1DJn182-jRCVl8W406dBG7yClDPTryIWfy9biEklQOPsrZzcQHKLR46wFs-2g20nW9GYqI2chwnEOVz7wYIZkDlYhT9GsLfaazeuU~wDTX0uCWzzJNbO4mmDUDhMCzSGYNI33j8RStnQibaGdfILgMmlUCydIDhK5L5Y-tWAIcq19tHUnzaoyrqNTg2ClxVdCDlPGK8vc1UB3NnOzs-EHJjCVzX9v-lc6gJG15IRvsOOO86M5T~-XwBUP2ROA0ei1-BrglNO9cLza4z22pEmFDdnrAV6Uvq1Dxt~tSMuHWPBwTdm6hMO~tLPdCPHblnu3Mlg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 1. Carolee Schneemann, Study for Up To and Including Her Limits (1973–76). Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York Figure 1
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/10.1215_02705346-8838613/2/s_cob8838613figure7.png?Expires=2147483647&Signature=iA7AQgjmpKJ1~gR2bkFiXlDl9zeaWnlD2gBXOAV2A2vEGw7iSex5f1rDdX9wVu1eT8Y1H9y6ONhG81yBZtillj1R3tIrMh8v7aXwK6KSos7-VKUFhib~RQvF4LKwr~-EO2cY3G4BNTtqHJ5iLFNZvddLk0Xk24CBi5QXXXwLKGW0x~T2x9sPNX2DuYfHRKIgM7uyGLs64jypfRzIyzOXfR7alxdXFBxVLC1H6GHv8hirVy0DLPgKFjVMSnP4IPwjh3KYQuei5Ww9d8jVcIF8jVIkicWyH5AAS7yMQ~~0tJMhM7fdT7n4FEQAO43aDy0k8b6bKvs-5Wy-opbRF7HCBg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda: Photography and Early Creative Process
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 7. Agnès Varda, photographic study for L'Opéra Mouffe ( Diary of a Pregnant Woman , France, 1958). © Agnès Varda, 1958 Figure 7. Agnès Varda, photographic study for L'Opéra Mouffe (Diary of a Pregnant Woman, France, 1958). © Agnès Varda, 1958
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/10.1215_02705346-8838613/2/s_cob8838613figure8.png?Expires=2147483647&Signature=s3oFA1SygXJLDcnEY0jsB~egGKUhVpim8LB7bBj9hsCC3u5X9I4vW9-c6KzMu8hAJEGwh6yAIqVaCgz-CD~bpLg~cXX8F8LFBc5Q3~sIS3y-IKOHkiGJ2iwLNkVPDrQOBvn4YbAXoLyJdjcrS9PSeH5KGg0YC-Frr6CONoNLzLYpgAetluB2E3UtqXuzcFrcc8tS50n5LkkzUJXas7p6KeJYg6Wvd~UrL9hQj95c8FAewmtKkz2Vr1hZet5j5hOxSJnmy-SKeG~TbJkT4T9mM8dLrbWOV8aDrUpByJpuQGCioeyaF0HAS4BjOBUWNVcC9be1xbGKNFI~2~SiWAuL2Q__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda: Photography and Early Creative Process
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 8. Agnès Varda, photographic study for L'Opéra Mouffe ( Diary of a Pregnant Woman , France, 1958). © Agnès Varda, 1958 Figure 8. Agnès Varda, photographic study for L'Opéra Mouffe (Diary of a Pregnant Woman, France, 1958). © Agnès Varda, 1958
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/10.1215_02705346-8838613/2/s_cob8838613figure9.png?Expires=2147483647&Signature=u3h1KchL0Gim823XnDS6Be9kdjl9wcNe0Q9pstxzlsgk1cVoYjDG9zRN7Gh0LKFvBIXCgbga4sThYMiuWrvcJHQpbxWM7BFXO7xAD9uiZWZwP4TpWL73X8~YqsufnMSk7F46FlAgQkw8yEGiO5mufHMgk~xQPMQSfezj3r42npZohH8Nyi87oYtkyRc-gPPVVnKS763qnNmQw2RoCRaItI0US92I~IAQwXQKttc~ev1ZCGDXqfs2abE7IrLIhtk-haJBJv23faAPOqrgWiYRwFjvv6JgvAnB07nNi8l2gBw56B14pO3VGWxyg8vDVG4L0T~9GgwqDgX6pxOjGDLYtw__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda: Photography and Early Creative Process
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 9. Agnès Varda, photographic study for L'Opéra Mouffe ( Diary of a Pregnant Woman , France, 1958). © Agnès Varda, 1958 Figure 9. Agnès Varda, photographic study for L'Opéra Mouffe (Diary of a Pregnant Woman, France, 1958). © Agnès Varda, 1958
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/10.1215_02705346-8838613/2/s_cob8838613figure10.png?Expires=2147483647&Signature=GicJEUiYd-pplXbI8~G-FcTVkQ2OjjjzivxPwZwHhI~sUDgA7fG2VNXLPWmQ5KA68kL1Z0BBS8zB2noGvgQoJBw4di1E3QGo059emBKiPdTNgXVLtnN4qnsd-i~WAN9Mqv3OfAeS2AOYMX6YZSFPMrRvdmCPTvwgLfggvBbxbD9cdthEzu5uh0klhLWYYGBy-WPj-y55zzmThAfMQN17gH72fi7g9H9CwWtQH2GN5WGQN0cTjp4cGt1FAkQUkdn7AGvxk~YaxSKCaO1yryWSm0yrgxw~WEJ0Y6Uz0C~D423ir6S81c0jBzfE3BxosBBV4ZcHcVJfjjawevgBtwBxMw__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda: Photography and Early Creative Process
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 10. Agnès Varda, photographic study for L'Opéra Mouffe ( Diary of a Pregnant Woman , France, 1958). © Agnès Varda, 1958 Figure 10. Agnès Varda, photographic study for L'Opéra Mouffe (Diary of a Pregnant Woman, France, 1958). © Agnès Varda, 1958
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Journal Article
Camera Obscura (2006) 21 (2 (62)): 178–183.
Published: 01 September 2006
...Anna Siomopoulos Camera Obscura 2006 Anna Siomopoulos teaches cinema studies in the Department of English at Bentley College. She has published articles on US film and culture in Cinema Journal, Film History , and Arizona Quarterly . She is currently completing a book titled “Public...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 39–67.
Published: 01 December 2012
... De Palma and the Political Invisible (Intellect, 2012). Figure . Bad Father. Invaders from Mars
(dir. William Cameron Menzies, US,
On Film Studies
and the Unconscious
Chris Dumas
I always had the impression, when I was very small, that my
father was two people, one good...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 124–154.
Published: 01 January 1996
...John Michael
Science Friction and Cultural Studies:
Intellectuals, Interdisciplinarity, and
the Profession of Truth
John Michael
Albert Einstein Meets the Nutty Professor
The recent "science wars" between scientists and humanists over
science studies take shape...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 27–31.
Published: 01 May 2006
...Sandy Flitterman-Lewis Camera Obscura 2006 Sandy Flitterman-Lewis is an associate professor in the English department at Rutgers University, where she teaches courses in cinema studies, comparative literature, and women's studies. She was one of the four founding coeditors of Camera...
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/10.1215_02705346-8838577/2/s_cob8838577figure7.png?Expires=2147483647&Signature=X8NNsKWfMOGLp~~99lTyEXcb0cTnI1AGDnzGM7FNVH60CgWog8DzMSOlo4YQf-C7Ovti-NeOo4XN36ppFr6Jq8Epam~H7uogpn8ZLtoN2JQetV4TZKGsC0gXT5cpWqt5tv~QLkrn8~Wc3UsdngKBfT956ui4FL3esfXIMBHDb8KajHsGrGwsnYNUG6HyxfAh55SNTNOlFbOICJ0Wv4ZLuQnXPYduUoDvpHrKnq9EIQ3HmqT82HGx~Rf4JH3UCbRSiPrivbqz0~~b5TfhoedTLcTibEUOeg-M0WktL3JpYs4VsY-QNtYS6oJaQOUh8QV8x7pTaonup0x3WH5RzmcZSg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 7. 50/50 en 2020, “Festival Heads,” in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes Figure 7. 50/50 en 2020, “Festival Heads,” in “The Role of Women in the Cannes Festival's Competition—A Comparative Study
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/10.1215_02705346-8838577/2/s_cob8838577figure9.png?Expires=2147483647&Signature=rjC3cpDDa3CYwMpRPVIU7FGdPlPB54RcmdbXV~sJVc9N2F~nDGGy5-7krbvwQDNt8U0i222Hc662-6pZ5dEEwIrvxfkJ0uxzuzHP1ZWHDzdvPWZU0U9lHczUclcf9WwHMrNJUX9JY-KTzEDdMjw2LMr9JE5KkzWhmjdsP4FrCYAT0LIjiheFjAYiyIrBKW7lrnVdxBJ47hURJUc~p0SEfaFQ1QG7txBPXRfG~X8q80Qta2zLEqZ-bBMeDtaupvqSnhV99co0CKHSZd8i5wEYkAmICRUcjRq67dnzr9jDHpe3MC8zDuNaX7SGg3tN6jozeDddhNYKwiut23xV50wGow__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 9. 50/50 en 2020, “Cannes Film Festival Board of Directors,” in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes Figure 9. 50/50 en 2020, “Cannes Film Festival Board of Directors,” in “The Role of Women in the Cannes
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/10.1215_02705346-8838577/2/s_cob8838577figure6.png?Expires=2147483647&Signature=Z-9AKgywkgF2lHry7sZk7cEGuTVizzedddNcVBKkRPeoR6Dr7eMbML4j6A8yx9XIge7coeALbA1JSXZ368OQ4HGUuCq95oZWvtgzZ9uwdm2LJMXdCVMQjB4AXd14FoBdy9GHRETR3cdNQpUuzFz-TX~DAVvI9LYeSJYQ4iTSuthsSTM2XA~-K-ZpovjoSj0C6VLC7RvSL-qDW3oGWVz8MFZSklppcZ7PgeWTGtlbLT-Ir4yMBKYKf~n0NXIMfzHwp3aMNWn9xkyhUUtpRy~M2HHAgxF0-1mXvvMQ2HTvkLEh8xE1MYvyW3KO0tZwaGQQtvsWXAa9jEM-FMHiB5~gkg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 6. 50/50 en 2020, “Female Directors Selected in Competition,” 1946–2018, in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes Figure 6. 50/50 en 2020, “Female Directors Selected in Competition,” 1946–2018, in “The Role
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/10.1215_02705346-8838577/2/s_cob8838577figure5.png?Expires=2147483647&Signature=S0v9JH2tAdWOa9bU3z6W0x17DcNSAI4LWW9rpvb9ReU2HV6SrqvhkQawsyGPw60UTJkA0bYQEZV73OdS3WWmVmPwmA58hl~t0Ub7Norlr0grLkwdDdLesRIeaV4DQjyPzEfF1rXFiKrUedR1atogKyjEpofAzyQVFeZU-WirQzjKkdlqulne1m1NuLGyro7E8vbnReop9epHC67AczZGEcZ2onTPHUKDr6CG8aEbrPv6qy9f~uMt-GFe~gGlVDV48EcPfXGFU1rmkNX4oU5zjCBkBCzTHDZWMbfz1o8OjUpDL1cB4cNaz9y8fMflhHryepCzMpwUIJdBtIOv8BL70A__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 5. 50/50 en 2020, “Comparison of the Last Thirty-Nine Editions—1980–2018” (detail), in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes Figure 5. 50/50 en 2020, “Comparison of the Last Thirty-Nine Editions—1980–2018
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/10.1215_02705346-8838577/2/s_cob8838577figure8.png?Expires=2147483647&Signature=CA4atn5iO20Ni1qYY45hSs9vmecVpnsfyfBGjJR-duRi0a7Syho7EQhfzMM5uIw35gVfRnADtj~oTHkvEV7i56iLqIMoNQovYL-ah4TVb0TK34TWJ0EYl316oig0XJEPgoDEI87SH3xY4pNBokkNBIk9srfZdlPMgDltVlNlw2X7FT3CB~OSA-IpMmbdjtSyOz-mosSn0bK5eTnJ5WseQDX~zocW18oGhnRJ1IiW-8ccZfNGDPTgtGRPcxQY1A-HLgZN83PyIPM0NDKp~xZ0iqilXxBtPPB0-grmeNZOeEmr6hZrzNokUSSi73Q6XiktdJWjAdVD9xE0QGQXD5FiGQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 8. 50/50 en 2020, Cannes Film Festival female jury presidents, 1946–2018 (detail), in “The Role of Women in the Cannes Festival's Competition—A Comparative Study,” collectif5050.com/en/study/cannes Figure 8. 50/50 en 2020, Cannes Film Festival female jury presidents, 1946–2018 (detail
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Journal Article
Camera Obscura (1992) 10 (3 (30)): 76–91.
Published: 01 May 1992
...
This paper was presented at the Brisbane Center for Psychoanalytic Studies conference,“Psychoanal-
ysis, Perversions, and the Cinema” in September, 1991.
78 (she who reads and interprets the text, in this case, the film) and the
psychoanalyst (she who listens to and enables interpretation...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 1–39.
Published: 01 September 2010
... male-dominated activities. This study explores the design and marketing of Daisy Rock Girl Guitars and Mattel's Barbie Wireless Video Camcorder, two early examples of this unique category of consumer electronics. Since men have historically dominated both filmmaking and electric guitar playing...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 165–173.
Published: 01 September 2017
...Bonnie Ruberg In this interview, Temple University assistant professor of media studies and production Adrienne Shaw discusses her work creating the LGBTQ Video Game Archive. Today, the dynamic interplay between queerness and video games provides scholars with an emerging area of exploration...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 153–163.
Published: 01 September 2017
... to queer gamers, game designers, and games critics and scholars. This introduction frames queer game studies as both a theory and practice, beginning a special In Practice section of Camera Obscura that profiles the Queerness and Games Conference (QGCon), the first conference explicitly dedicated...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 1–9.
Published: 01 May 2015
... around the appeal of reality television and the reasons for approaching it from a scholarly perspective, particularly that of feminist media studies. This version of the studio Q&A format, honed into a subgenre by reality TV itself, is designed to elicit not only interest but knowledge—in this case...
