...J. E. Smyth Although The Man in the Gray Flannel Suit (dir. Nunnally Johnson, US, 1956) ostensibly focuses on Tom Rath (Gregory Peck), the production of the screenplay and shooting largely revolved around actress Jennifer Jones's characterization of Betsy Rath, a stay-at-home wife and mother...

... a discussion of his Facial Weaponization Suite (2011–14), a series of biometric masks that ask who and what we make visible to technology. Looking to the face as a critical site for negotiated visibility, Blas and Gaboury draw on diverse traditions of concealment and performance to frame the contemporary...

... into more discrete forms, because such animation creates sites at which formal experimentation and formal redundancy are vividly and co-constitutively apparent. The essay also, playfully, nominates the suite of at-once realist and fantastical effects engendered in animation as the condition of animation’s...

... that Williams "belongs in a bathing suit for reasons more immediately apparent to the masculine eye."21 A reviewer in Time quips, "Esther Williams shows off her dra- matic talents in elaborate gowns and her more notable gifts in a plain bathing suit."22 And of Neptune's Daughter...

... a year by Duke University Press, 905 W. Main St., Suite 18B, Durham, NC 27701. Thanks to the University of California, Santa Barbara, for its support of the editorial office in the Department of Film Studies. Camera Obscura also benefits from the generous support of the following institutions: Johns...

... of consciousness from one mind to another as the therapist enters the psychic world of the patient; and finally the experience of this reality itself given physical shape by the electronic input of the stim suit, a full-body virtual reality apparatus with its millions of sensors responding to the electrical...

...-mutilator Buffalo Bill. Buffalo Bill, we find out, skins his victims because he suffers a kind of gender dysphoria that he thinks can be solved by covering himself in female skin; in fact, he is making himself a female body suit, or “a woman suit” as Starling puts it, and he murders simply...

... — a blond (Ivana Karbanová) and a brunette ( Jitka Cerhová) — in vividly colored bathing suits. They sit upright on the ground, eyes closed, legs wide apart, backs against a wooden wall. Later in the film — when the bathing suit scene is repeated and the camera moves slightly — we find out...

... mutton chops, an Australian Elvis curling his lip, a Hawaiian Elvis with flowers and a tan, even a female Elvis in a Vegas jump suit. At first it seemed impossible. The aura of the individual star that the “real” Elvis so masterfully embodied seemed grossly incongruous with this dizzying...

...: Sexuality, Gender, and Identity in Video Games beyond Representation,” and the lead organizer of the annual Queerness and Games Conference. © 2017 by Camera Obscura 2017 video games LGBTQ queerness archive Figure 1. Shablee, a trans woman of color who appears in Leisure Suit Larry 6...

... Orfeo’s insistence that Fanny procure him money, champagne, an Armani suit, and ulti- mately a piece of gold. The film seems to want to have it both ways, mixing the seemingly magical with the flagrantly material, since Orfeo’s claims...

... demeanor that did not suit the era’s leading-man archetype, and he soon transitioned to play scurri- lous gigolos (Laura [dir. Otto Preminger, US, 1944 gothic heroes (Dragonwyck [dir. Joseph L. Mankiewicz, US, 1946 and outright villains (The Three Musketeers [dir. George Sidney, US, 1948...

... who runs a demon karaoke bar? I ask you. Should she step up to the microphone and sing some Gloria Gaynor, some Aretha, some Streisand, half-afraid that he will join her and half-afraid that he won’t? His teeth are so white, his voice so soaring, his double-breasted turquoise suits and red...

... moment in the series (Fantômas contre Fantômas, France, 1914), during an effort to trap the elusive criminal, a policeman, a journalist, and Fantômas himself all turn up in the same black body suit at a party—hence private deviance, public morality (the journalist), and the institutional force...

... they were left with no hair, or, if they had hair they were left with damaged hair, and they felt betrayed. As of April 25, 1995 500 people have become a part of a federal class action suit against World Rio Corporation. Many others are filing independent law suits against the company...

... Sundance Film Festival. No. 81: pp. 149 – 157 Nadia Sophia Sanko Creolizing Carmen: Reading Performance in María Antonia, Cuba’s Overlooked Carmen Adaptation. No. 79: pp. 157 – 191 J. E. Smyth The Organization Woman behind The Man in the Gray Flannel Suit. No. 80: pp. 61 – 91...

.... It is not unimportant that Ottinger was the cinematographer on this film, as she was on most of her earlier films. In this instance, there is something particularly suited to her subject that is expressed by Ottinger's camera style. In her own words, "I tried to carry out a discourse on the exotic...

... and laboured breathing inside of her protective suit as the scientist and the linguist don their layers of protective gear and accompany Captain Weber (Forest Whitaker) and the other soldiers on a mission to explore the inside of the alien spacecraft. Louise's breathing is strongly suggestive of laboring...

... frames produced by Regnault, however, belies any simple polarity of subject and object. There is, for example, a Frenchman, dressed in a city suit and hat, who accompanies the woman as she walks, never taking his eyes off her. His walk, meant to represent the urban walk...

.... In 1944, shortly before shooting was to begin, Jerry Wald, a pro- ducer at Warner Brothers, approached Crawford about starring in the screen adaptation of James M. Cain’s 1941 best-selling novel, Mildred Pierce.1 Wald was convinced that Crawford was bet- ter suited for the part of Mildred than...