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Camera Obscura (2016) 31 (3 (93)): 35–63.
Published: 01 December 2016
... the intentions of collaborative partners or the institutions hosting them, shared labor opens ways to contend with difference as creative material and not just as that which opposes normality. The author considers a number of artists' groups, projects, and collaborative methods in which the subject...
Camera Obscura (1991) 9 (1-2 (25-26)): 8–40.
Published: 01 September 1991
...Rey Chow Copyright © 1991 by The Johns Hopkins University Press 1991 Male Narcissism and National Culture: Subjectivity in Chen Kaige’s King of the Children Rey Chow I: The Detour . . . how many [teachers] (the majority) do not...
Camera Obscura (1996) 13 (3 (39)): 104–125.
Published: 01 September 1996
...Kwai-Cheung Lo Muscles and Subjectivity: A Short History of the Masculine Body in Hong Kong Popular Culture Kwai-Cheung La About a year ago, watching David Letterman's Late Show on CBS, I was surprised to find that Jackie Chan was the show's second guest, there to...
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
...Fiona I. B. Ngô This essay explores how visibility and sight, but also invisibility and blindness, inform the production of knowledge about subjectivity and subjection in critical refugee studies. I consider Ekleipsis , by the Vietnamese American filmmaker Tran T. Kim-Trang from the Blindness...
Camera Obscura (2013) 28 (2 (83)): 77–107.
Published: 01 September 2013
... article looks at these documentaries to explore black female subjectivity, with the trope of adoption acting as an organizing narrative principle. Adoption is treated as a metaphor of sorts, and one that might dislocate the primacy of traditional moralizing about what it means (not) to be a mother. In...
Camera Obscura (1988) 6 (2 (17)): 30–67.
Published: 01 May 1988
...Kaja Silverman Copyright © 1988 by The Johns Hopkins University Press 1988 The Martyrdom of Saint Sebastian (Mantegna) Masochism and Male Subjectivity Kaja Silverman Perversion: Turning aside from truth or right; diversion to an improper use...
Camera Obscura (2002) 17 (2 (50)): 191–217.
Published: 01 September 2002
... under US slavery. Camera Obscura 2002 Ralph Fiennes in Strange Days (dir. Kathryn Bigelow, US, 1995) Strange Days and the Subject of Mobility Brian Carr This is not like TV, only better. This is life. It’s a piece of somebody’s life. It’s pure and uncut—straight...
Camera Obscura (2003) 18 (2 (53)): 93–123.
Published: 01 September 2003
...Maria Margaroni The Piano (dir. Jane Campion, Australia/New Zealand/ France, 1993) Jane Campion’s Selling of the Mother/Land: Restaging the Crisis of the Postcolonial Subject Maria Margaroni Matricide and Postcolonial Melancholia In Imaginary Homelands, Salman Rushdie argues that...
Camera Obscura (2019) 34 (3): 157–167.
Published: 01 December 2019
... professionals help cultivate television programs’ aural sensibilities by literally giving voice to a show’s premise and, in so doing, raise the volume on women’s place in television storytelling as otherwise marginalized subjects. This essay identifies three different types of theme singing that are especially...
Camera Obscura (2018) 33 (3 (99)): 49–73.
Published: 01 December 2018
... cinematic realism to the historically disparate stakes of subjectivity in the two films’ production contexts. In Redupers , the film’s protagonist employs photography as a means to build solidarity and assert women’s subjectivity in the face of nearly insurmountable material and social obstacles. In...
Camera Obscura (2006) 21 (3 (63)): 63–101.
Published: 01 December 2006
... networks in recent American fiction. “her” (frontispiece to title page) from Patchwork Girl; or, A Modern Monster. Courtesy of Eastgate Systems Subject to Change: The Monstrosity of Media in Shelley Jackson’s Patchwork Girl; or, A Modern Monster and Other Posthumanist Critiques of the...
Camera Obscura (2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
...Hiram Perez Building on feminist and queer scholarship on the relationship of film spectatorship to subjectivity, this essay conjectures subaltern spectatorships of the two US film adaptations of Fannie Hurst's 1933 novel Imitation of Life as a means of tracing the impossibly entangled discourses...
Camera Obscura (2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
... filmmaking process and the filming subjects, demonstrating self-reflexive performativity more than transparent authenticity. It is such performativity that mediates between the past and the present, between the individual and the collective. As a participatory performance of filmmaking, the Folk Memory...
Camera Obscura (2016) 31 (1 (91)): 93–121.
Published: 01 May 2016
...Ros Murray This article assesses the impact and import of 1970s French feminist video collectives, focusing on the relationship between technology, subjectivity, and embodiment. It investigates how early portable video technology provided the tools for an exploration of subjectivity as collective...
Camera Obscura (2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
... governmentality. Shot in real time between 2002 and 2007, And I Do Survive takes as its subject the HIV-positive bisexual activist Michelle Lopez. Born in Trinidad, Lopez has been in the US for close to two decades now but has been unable to acquire citizenship because of a legal ban on HIV-positive immigrants...
Camera Obscura (2011) 26 (2 (77)): 91–121.
Published: 01 September 2011
...Noor Al-Qasimi This article focuses on shampoo advertising for Saudi Arabian Television. It examines the ways in which shampoo advertisements produced for Saudi Arabian Television employ techniques to introduce and maintain codes of modesty in the construction of the Muslim female subject on-screen...
Camera Obscura (2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
...Richard Pope It is typically argued that Blade Runner should be seen as a metaphor of the postmodern condition, or of our—”our” insofar as we are postmodern subjects—schizophrenic relation to the Symbolic order. It is said that while the film's replicants are initially resistant to the social order...
Camera Obscura (2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
... Breillat's portrayal in À ma sœur! ( Fat Girl , France, 2001) and her other films of nonnormative, even taboo subjects—the depiction of childhood and adolescent sexuality, of unsimulated sex, and of statutory rape—writings on her work have focused largely on the director's public persona and the polemics...
Camera Obscura (2016) 31 (2 (92)): 61–91.
Published: 01 September 2016
... voiceless—or underrepresented—persons or things. This article contends that the material practice of ventriloquism has more to offer to documentary cinema than a convenient (and typically negative) metaphor for the deceptive synchrony of sound and image or the embattled relation between subject and object...
Camera Obscura (2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
...Pooja Rangan This article investigates the contemporary phenomenon of “child media advocacy,” or the practice of “empowering” child subjects by providing them with media technologies as a means of self-representation. Tracing the genealogy of this practice to an older ethnographic tradition of...