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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 64–87.
Published: 01 September 1990
...Ann Banfield Copyright © 1991 by The Johns Hopkins University Press 1990 La Table servie [Set Table] (Niciphore Niipce, ca. 1826) L‘Imparfait de l’objectif: the Imperfect of the Object Glass Ann Banfield The real, when it has reached the mind, is already...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2006) 21 (2 (62)): 144–167.
Published: 01 September 2006
... which one exists only as long as one marches alongside everybody else. It is only as two that they can revolt. “There you are. We do exist.” Ultimately, table manners become the central focus of this mad uncivil revolt.4 The film offers a series of eating episodes in different settings...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 216–218.
Published: 01 May 1979
... flowers on the table cloth, the napkins, the beer bottle label, the thermos, the baby’s booties, the shower curtain) creates a low-level dissonance. These accents of red throughout the film can be seen as a prefiguring of the trace of blood on Jeanne Dielman’s hand in the final shot of the film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1992) 10 (1 (28)): 238–261.
Published: 01 January 1992
... of spectacle. This type of lust may lead the traveler-spectator astray, for, as Tom Gunning shows, an aesthetic of attraction, with its perceptual shocks, implies distraction.s And this very curiositus may also draw Figure 2. Table from a work by Jacob...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 116–123.
Published: 01 December 1982
... undefined- ness, its wandering of images. And again, toward the end of the film there is a counterpart to this embrace that almost immediately turns into a confrontation: it is the embrace-attack in the apartment (Paul, sitting at the table, suddenly jumps on Denise), which projects the two...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 7–10.
Published: 01 September 1990
... the reels of an editing table). “Tubes emitting a pale and wavering glow came to life” (here it’s about video). “Slowly, as if unwillingly, a switch, in neutral, changes position” (this difficult shift from cinema to video enables sound and image to be positioned differently...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 124–130.
Published: 01 December 1982
... a woman worker bent over by fatigue, or col- lapsed on a table at the cafe after the arrival of the police. Or, for example, the actor could have an argument with some bank officials. And this could be reflected in a sequence depicting the painting by El Greco of the merchants in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... chairs and a table, or a sofa and a coffee table, and at least four participants per playthrough. Most performance sessions include four to six separate playthroughs in a row, between which new participants are rotated, creating a highly repetitive and circular narrative arc inspired by the film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 7–11.
Published: 01 December 1982
... [forbidden, sexual, familial] desire expressed earlier by Paul in relation to Ckile at the soccer field and at the dinner table), M. Personne asks Isabelle to show her “belle foret” to “Maman,” at which point we see an image of some trees in autumn. These images and sounds work...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 115–121.
Published: 01 September 1977
... pair of scissors. The final shot is held for a long time-Jeanne sitting at the dining room table in silence and near-darkness, the light from outside flickering over the room which is familiar to us in everydetail. The economy of the enunciation of images matches that of Jeanne's movements and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... scene has finally established a traditional axis of action, with Virginia sit- ting at one end of the table, to the right, and Kik at the other end to our left. Behind them we can see the original three doctors and a nurse who blithely transcribes whatever is being said. There are six heads in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2003) 18 (1 (52)): 129–155.
Published: 01 May 2003
.... They allow for the Surrealist ideal of the fabled dissecting table of Lautréamont’s, “as beautiful as the chance meeting upon an operating table of a sewing machine and an umbrella.”16 The cou- pled realities that these black-and-white films expose reflect how cinema can be the site for subjective...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2007) 22 (2 (65)): 158–165.
Published: 01 September 2007
... her hands clenched, she maintains a slight forward bend in her shoulders. This awk- ward stance accentuates the billiard-table flatness of her abdomen and the thinness of her entire body. Her words will soon suggest that one of the conditions her character suffers from is anorexia nervosa: “I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1996) 13 (3 (39)): 126–150.
Published: 01 September 1996
... provider of nourishment. They created an elab- orate dining room where the table was laden with inedible food arranged to fulfill the bourgeois ideals of decor, plenty, wealth, and 135 regularity. This room, set up as one of the domains of the wife, reveals her role as the keeper of domestic...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 105–114.
Published: 01 September 1977
.... WI Like everyone else, you don't want to see what's wrong. After the shot of the young worker and the young woman at the breakfast table, Odette explains the photograph and relates it to a sim- ilar photograph taken in France four years ear- lier. This section...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 77–105.
Published: 01 September 2009
... negative. A handheld camera follows them walking along shelves full of porcelain figu- rines, walls crowded with paintings, tables covered in embroideries, and windows enclosed in drapes. There are no cuts. The viewer experiences the exhibit-like interiors in real time and in actual...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 177–183.
Published: 01 December 2016
... dinner table. I am also interested in the construct of femininity. Cur- rently, I am working on a long-­term, transnational art project on the censorship of femininity and sexuality in mainstream cinema and the Internet. The project is called When the Towel Drops. Earlier, I mentioned the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 202–223.
Published: 01 September 1991
... wife into “true womanhood,” Fields nevertheless gains greater autonomy within the home (signified by his open con- sumption of alcohol at the breakfast table and by the wife’s display of some affection toward him) by dramatically increasing his material standing (thenew...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
..., the narrative follows three stages of the relationship between Lee and Jean (from fHst date, to break-up, to reunion). At each of these points, there is always a second, “other woman” at the table while they have dinner. In each scene, Jean nervously questions what role the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2001) 16 (1 (46)): 99–141.
Published: 01 May 2001