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sundance

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
...Roya Rastegar Festivals not only select and exhibit films, they also call in audiences and shape the conditions in which these audiences engage with cinema. Drawing from the author's changing personal relationship to cinema culture, and engaging with eleven films that premiered at the 2012 Sundance...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 181–183.
Published: 01 December 2012
... 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 145–151.
Published: 01 December 2006
... and Reel to Reel sec- tions in which Water and Sisters in Law were showcased at Toronto in 2005. Sundance touted a record 25 percent women directors in the competition sections of the 2006 edition.12 The numbers game is of course not the most...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
... commitment, such festivals as Sundance (held in  January) and the Toronto Inter- national Film Festival (TIFF, held in September) annually provide sound evidence of the ongoing relevance of the concept of women’s cinema — characterized by women’s access to the means of produc- tion, the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... films by and about women in the world and helped hundreds of women get their films made through its Production Assistance Program. Films from WMM programs have won prizes at the last five Sundance Film Festivals and have been nominated for or won Academy Awards in five of the last six years. Zimmerman...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
... who showcase recognizable themes and players in their work and participate regularly in indie institutions such as the Sundance Film Festival and the Independent Spirit Awards include Lisa Cholodenko, Lena Dunham, Debra Granik, Courtney Hunt, Tamara Jenkins, Miranda...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
... confidence? Consider the question of status for a moment. Status confers confidence. We know this to be true — know it intimately, just as we know how to recognize the markers of success. You enhance your sta- tus if you get into Sundance, get tenure at Yale, are hired to write for...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 111–135.
Published: 01 May 2014
... many female independent filmmakers.5 Cholodenko’s previous two feature films — High Art (US, 1998) and Laurel Canyon (US, 2002) — both premiered at Cannes and were critically acclaimed on the festival circuit. High Art won the Waldo Salt Screenwriting Award at the Sundance Film Festival...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 141–166.
Published: 01 September 2008
... accident, leaving Handong to pick up the emotional pieces to find peace in himself. In a Sundance Channel interview, Kwan describes the film as “an ordinary love story.”30 His agenda is clear in his use of the word ordinary: he wishes to deemphasize gay sexuality to highlight the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1996) 13 (2 (38)): 116–131.
Published: 01 May 1996
..., booking requests poured in from, among other places, Holland, Australia, and Africa. Within its first year in circulation, Daughters of the Dust already grossed over one million dollars at the box office.' In the United States, it received a number of prestigious awards, including the Sundance prize...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2004) 19 (1 (55)): 181–197.
Published: 01 May 2004
... large-scale photographs, the Dot Pictures, were shown at the Tom Landowski Gallery in Seat- tle, Washington. With the help of the Sundance screenwriter’s lab, she is currently working on a feature-length movie. We sat down with a tape recorder one chilly spring afternoon in Green- point, Brooklyn...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 143–177.
Published: 01 December 2011
... of discourse.42 The introduc- tion to this volume by the Sundance Documentary Film Program director, Diane Weyerman, chronicles the Born into Brothels  project and showcases the children’s photographs, extolling the children’s “transformation” by photography: “Briski, a professional photogra...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... Sundance a few years later); and the Toronto International Film Festival. Concur- rent with the film’s festival events, it screened at museums, col- leges, artist centers, and repertory houses as part of special events or midnight runs across the country.17 In addition, the film screened several times...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2005) 20 (1 (58)): 185–207.
Published: 01 May 2005
... produced by Maori but was adapted from Witi Ihimaera’s novel of the same name. The provocative short film Two Cars One Night (Taika Waititi, New Zealand, 2003), which screened at the Berlin and Sundance film festivals, is another example of contemporary Maori filmmaking. For more...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... received theatrical distribution in the United States.1 Despite the seem- ingly massive impact of the New Queer Cinema and the culture of Sundance and independent film, this film’s anomalous status is a testament to how little has really changed in the power struc- tures of cinematic production.2...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 93–115.
Published: 01 December 2014
... and the North Atlantic, from Cannes to Sundance and from Buenos Aires to Havana. At the same time, however, her films are finely tuned to the particular rhythms and values of provincial middle-­class Argentina, a world whose economic stag- nation and moral bankruptcy Martel dissects through...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 161–187.
Published: 01 December 2015
... (Seul contre tous, France, 1998) was selected for the Telluride, Toronto, Rotterdam, and Sundance festivals and won a spot in the International Critics’ Week at Cannes in 1998, while his Irreversible (Irréversible, France) premiered at Cannes in 2002, as did Claire Denis’s Trouble Every Day...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 97–129.
Published: 01 May 2010
... such as Midnight Cowboy (dir. John Schlesinger, US, 1969), Butch Cassidy and the Sundance Kid  (dir. George Roy Hill, US, 1969), Thunderbolt and Lightfoot  (dir. Michael Cimino, US, 1974), and the Lethal Weapon  films (dir. Richard Donner, US, 1987 – 98) all right- fully contextualize the films...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1993) 11 (2 (32)): 41–74.
Published: 01 September 1993