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suspension
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1
Journal Article
Camera Obscura (2023) 38 (3 (114)): 173–201.
Published: 01 December 2023
... points in the film, this article pairs close analyses with a discussion of Steyerl's own references to philosophy (Hegel) and film theory (Harun Farocki) within and peripherally to Lovely Andrea , demonstrating how the bondage practice of self‐suspension so central to this film performs a dialectical...
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Image
in Self-Suspension in Frames: Hito Steyerl's Lovely Andrea
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 9. “Two feelings at the same time.” Ageha performing self-suspension. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist
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Image
in Self-Suspension in Frames: Hito Steyerl's Lovely Andrea
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 10. Self-suspension in reverse. Ageha's hair flows up as she hangs upside down. Lovely Andrea (dir. Hito Steyerl, Japan/Austria/Germany, 2007). Courtesy of the artist
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Journal Article
Camera Obscura (2014) 29 (3 (87)): 93–115.
Published: 01 December 2014
... nonlinearity over causality, sound over sight, and suspense over closure. This article argues that Martel's trilogy of life in the province of Salta, Argentina, examines the country's incomplete transition to democracy from the perspective of strong, intelligent, and socially privileged female protagonists who...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 75–103.
Published: 01 September 2004
... by the film; we are
hailed by it as we experience the erotic thrill of suspense in track-
ing Jennifer Lopez through Singh’s grotesquely beautiful cine-
matic landscape. Through its emphasis on those “difficult plea-
sures” of spectatorship—the desire for beauty, knowledge, and
power that is manifested...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 30–67.
Published: 01 May 1988
... -
its chief focus is moral (or what Reik calls “social”) masochism. Mas-
ochism in Sex and Society characterizes that psychic economy as closed
and self- referential, and associates it with exhibitionism or “demon-
strativeness,” revolutionary fervor, and “suspense” -a surprising...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 71–113.
Published: 01 December 2002
... as a suspenseful connection to anxiety,
hysteria, and paranoia—it is “funny” only in the peculiarly exces-
sive investments made in it. The prologue to the film version—a
printed text that crawls up the screen over a shot of switchboard
operators—speaks best to how the phone slips from a signifier of
comfort...
Journal Article
Camera Obscura (2023) 38 (2 (113)): 31–61.
Published: 01 September 2023
... of the scene, a practice Lockhart renounces in favor of what fits the description of Bersani's “free moving play”: shots in which we experience a suspension of desire across time and space as her camera refuses to move us closer to its subjects, and as the long take forces us to experience a suspension of our...
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Journal Article
Camera Obscura (1993) 11 (1 (31)): 120–147.
Published: 01 May 1993
... scenes of magniloquence and magnificence comparable
with the third and fourth acts of ‘Hernani’? In which is the action so
crisp, so rapid, so irresistible? It passes from suspense to surprise, from
surprise to suspense, without an instant’s pause. The tables are always
being turned upon some...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 117–127.
Published: 01 January 1988
... personal disgrace by trium•
phantly singing a hymn down the town's main street as she goes to meet
her groom. An expressionistically stylized flashback provides the disrup•
tion-the return of the repressed-which triggers the suspenseful question:
will this hysterical rupture, in fact, prevent...
Journal Article
Camera Obscura (2004) 19 (1 (55)): 77–111.
Published: 01 May 2004
... causality, thus trans-
forming the image into a syntagmatic unit of meaning rather
than an autonomous visual display. 4 And this drive to narrativize
the image is not only stylistic; it is also thematically expressed
within classical films, most frequently in the form of a romance or
suspense plot...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 98–99.
Published: 01 September 1980
... from actual productions-it is also ambiguously and
austerely reconstructed in scenes which both refer to and depart from
the opera. But the narrative is constructed using the cinematic conven-
tions associated with the “suspense” genre. Mimi’s death is introduced
as a murder, and she...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 63–91.
Published: 01 May 2017
... characterized by the suspension of time and activity in the
service of securing pleasures that may or may not be conferred
by the other. The issue of who is in control of these situations is
complex; while the “victim” of masochism is at the mercy of the
“torturer,” Deleuze reminds us...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 230–231.
Published: 01 September 2001
...: University of California
Press, 2000.
Smith, Susan. Hitchcock: Suspense, Humour, and Tone. London: British
Film Institute, 2000.
Staiger, Janet. Blockbuster TV: Must-See Sitcoms in the Network Era. New
York: New York University Press, 2000.
Street, Sarah. British Cinema...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 4–7.
Published: 01 January 1990
... into certain
suspense-generating mechanisms.
In his essay on the serial queen melodrama in American cinema of
the teens, Singer similarly focuses on films which assigned a prominent
role to female protagonists. He emphasizes the marked historical shift
in the definition of melodrama, and the kinds...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 6–70.
Published: 01 September 1980
... system and may indeed,
because of their rigorous use of suspense, be considered as models of
this system. Similarity of the corpus, isolated within the film as a whole:
here as before, the analysis will deal with the beginning--the credits and
opening sequence-considered as endowed...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
... in
cinema. In Kracauer’s reading of D. W. Griffth, he notes that Grif-
fth’s “chases seem to transform ideological suspense into physical
suspense without any friction.”22 Moreover, chase sequences are
“immensely serviceable for establishing a continuity of suspenseful
physical action” (42...
Journal Article
Camera Obscura (2024) 39 (1 (115)): 1–33.
Published: 01 May 2024
... translates into the suspension of legal rights, political disfranchisement, and social abandonment captured in the paradoxical figure of the denationalized subject. Impunity also functions as a technology of security, one that does not simply operate in times of crisis, but rather one that produces social...
FIGURES
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 296–320.
Published: 01 September 1991
... thriller based on
the novel of the same name by Scott Turow.* The film-both in its
advertised image and from its internal point of view-caters to an
educated, white, yuppie audience. It is a classic suspense film in one
sense, fitting precisely the narrative conventions generally associated...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 31–53.
Published: 01 May 2023
... says, as “a suspension of life and death, refuses the indexical links between ageing, vivacity, and mortality. And that suspension is closely linked to a space of intimacy and displacement in Akerman's work” (56). For Chamarette, daughterhood is aligned with agelessness in the sense that one does...
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