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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2017) 32 (3 (96)): 63–91.
Published: 01 December 2017
...: Effeminacy, Friendship, and Style in Douglas McGrath’s Infamous Elisabeth Windle A queer literary figure who lived and wrote before the Stonewall Riots, Truman Capote has become a loaded sign in contemporary American gay culture. Two feature films released only one year apart, Infamous...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2018) 33 (2 (98)): 41–67.
Published: 01 September 2018
... late style Lars von Trier Nymphomaniac ...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
...Sangita Gopal; Sujata Moorti In the years since its release, Moulin Rouge! (dir. Baz Luhrmann, 2001) has emerged as the harbinger of Bollywood cinema's growing visibility in the West. We argue here that while the film's visual excesses are immediately recognizable as citing “Bollywood style...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
... herself as a benshi. Unlike other traditional performing arts, creating one's original style based on one's interpretation of the film has always been more valued than copying the predecessors' styles. Sawato also discusses the complex ways in which she, a contemporary woman with a clear feminist agenda...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
... New Day members, research on the initial production and reception of the collective's earliest work, and analyses of the style and structure of both canonic and contemporary films in its collection, this article demonstrates that the organization's valorization of collective production and collective...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 153–163.
Published: 01 September 2017
... intersection of video games and LGBTQ issues. The interdisciplinary conference includes award-winning game designers and leading academics in queer and video game studies, and its format combines presentation styles common in the game industry, such as the “postmortem,” which describes the design process of a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... spaces and aesthetics for producing collective memory that differently configure spectatorial interaction and social intervention. Counterposing the hyperindustrialized military vision of the fictional reality TV show Drones with the social media–styled memory market TruNode, the film’s caricature of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... explores Almodóvar's narrative style through a close analysis of the deployment of coincidence as a device in Talk to Her , a film structured by coincidental meetings and events. Tracing Almodóvar's treatment of coincidence allows us to evaluate and appreciate the classical echoes of his narrative...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
...Rosalind Galt This article contends that film studies has consistently denigrated “pretty” images: those that emphasize detailed composition, excess color, or decorative style. While the term deliberately invokes the triviality of “pretty pictures,” the article questions this taken-for-granted...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 43–75.
Published: 01 September 2009
... documentaries frequently focus on women and children in not only the United Kingdom but also in cultures as diverse as Japan, Iran, and nations in Africa. This essay explores four of her most well-known recent documentaries, Divorce Iranian Style (1998) and Runaway (2001), both made in Tehran and codirected...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
... game avatars' unremarkable abilities, limiting supplies, frantic combat styles, frustrating spatial progress, experiences of entrapment, and a pervading sense of helplessness, exemplified by the games' often deterministic linear structures. Overall, this article argues that the games encourage critical...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
.... Aniruddha Maitra analyzes Lopez's condition through his reading of Hima's video, not to privilege representative realism, but to begin to theorize a more reflexive ethics of representation. Maitra argues that it is Hima's self-conscious verité style that articulates at once its own desire to “represent...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 1–33.
Published: 01 December 2011
... in her film. Yet despite Coppola's prominence as a contemporary maker of style, her insistence on her primary role as maker of movies invites us to read her interpretation of the life of the Austrian dauphine as a commentary on her own experience as a contemporary woman filmmaker, one that has proven...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
... operatic ingenue with European roots who remains a child in spite of her mature vocal skill. After the beginning of the war, however, her films unsuccessfully attempted to transform Durbin into an American seductress capable of performing in a range of styles even as the studio and her fans were...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
... style. The article concludes by briefly tracing Girl 6 's representational logics through Lee's controversial She Hate Me (US, 2004), which again uses the spectacle of sexual availability to underscore the creation of the private sphere as affective labor. Ultimately, this article argues that, in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
... musical fashions such as American rock and roll, swing, mambo, calypso, and cha-cha. Her performances stand out as key sites for the cinematic remediation of foreign musical styles, channeling and absorbing their connotations of otherness, exoticism, and sensuality. Moreover, Mambo Girl catalyzed a far...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
... aesthetic a cinematic exploration of écriture féminine . While studying the film's experimental cinematography, its carefully thought-out costume and set design, and its deliberately naive acting style, we find particularly noteworthy the filmmakers' employment of color. Fruit 's chromatic experimentation...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... slips out of a volitional, rational place to demonstrate how difficult creative networks can give rise to strange processes of what she calls “trans-subjectivity.” The author accounts for situated styles of collaborative practice wherein the radicalized subject can creatively, unexpectedly, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 165–171.
Published: 01 May 2008
...Andrea Fontenot Camera Obscura 2008 Andrea Fontenot is a doctoral candidate in English at the University of California, Santa Barbara. Her research is on queer modernism and contemporary queer cinema, tracing the genealogy of unintelligibility as style. She has been the managing...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 181–201.
Published: 01 September 1991
...-sexed indi- viduals within the representational frame. In addition, these models bear the signifiers of sexual ambiguity or androgynous style. But “gay- ness” remains in the eye of the beholder: gays and lesbians can read into an ad certain subtextual elements that correspond to experiences...