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televisual

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Journal Article
Camera Obscura (1993) 11 (2 (32)): 124–160.
Published: 01 September 1993
...Timothy Murray Copyright © 1993 by Indiana University Press 1993 Figure 1. Mary Kelly, “La Hudson Boite en fer blanc #6,” from Magiciens de la Mer(d), Artforum, January 1991. Televisual Fears and Warrior Myths: Mary Kelly Meets Dawn Dedeaux Timothy...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 146–165.
Published: 01 May 1994
...Sasha Torres Copyright © 1994 by Indiana University Press 1994 Figure 1. War and Remembrance: Televisual Narrative, National Memory, and China Beach Sasha Torres I. Memory: Televisual, Popular, National In “The Gift the last show of China Beach’s third season on ABC...
Journal Article
Camera Obscura (2019) 34 (3): 31–61.
Published: 01 December 2019
... of contemporaneous social anxieties are exposed: the newly permeable nature of the home Sitting Closer to the Screen: Early Televisual Address, the Unsettling of the Domestic Sphere, and Close Reading Historical TV Josie Torres Barth Camera Obscura 102, Volume 34, Number 3 doi 10.1215/02705346-7772375 © 2019...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
...Ani Maitra In a conversation with the queer South Asian independent filmmaker and video artist Hima B. and through an analysis of her cinema verité work-in-progress And I Do Survive , this interview-article looks at the relationship between televisual discourse and “citizenship” as a form...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... the work of remote sensing and the identification of bodies and especially of faces. The relation between these modes of televisual horror —  violence against people and objects, bodies and buildings, US citi- zens and their built environments — and the digital sublime works as follows...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 158–160.
Published: 01 September 1995
..., Timothy Televisual Fears and Warrior Myths: Mary Kelly Meets Dawn Dedeaux. NO. 32; pp. 125-160. Rooks, Noliwe By Any Other Name: Sweet Justice, Cicely Tyson, and Contemporary Visual Politics. No. 36; pp. 49-66 160 Russell, Catherine “Overcoming Modernity”: Gender...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 155–183.
Published: 01 May 2015
...Pier Dominguez This article examines Bravo's Real Housewives franchise (2006–) to theorize the aesthetic, affective, and performance qualities of docusoap televisuality. It argues that the franchise functions through a financial and affective economy of “money shots,” or moments of predictably...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 41–69.
Published: 01 May 2015
...Michael Litwack How can we understand television's pervasive ideology of liveness at a moment in which the medium increasingly invests in the vital capacities of individuals and populations? This article approaches this question by looking at the imbrication of televisual liveness and a perhaps...
Journal Article
Camera Obscura (2019) 34 (3): 157–167.
Published: 01 December 2019
... and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 117–127.
Published: 01 January 1988
..., both dramatic and videographic) and with soap opera as a televisual form (television's specificity, its particular mode of meaning production). These two factors are interactive: because soap opera is a highly segmented structure whose essential fracture of narrative pro• duces a dispersed...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 6–11.
Published: 01 May 1994
... for Women.” What in the world of industrial culture might such a phrase mean? What kind of televisual fare might it actually signify? The proposed issue generated skeptical reactions; chortles that dismissed the slogan and its cable channel to the netherworld of hapless oxymorons; outbursts...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 59–105.
Published: 01 May 2005
...: “If you love pudding and man sex . . .”1 Although Oz (1997–2003) never matched the ratings or critical acclaim of other HBO original programs, the series, as these spoofs suggest, occupied a unique place in both the televisual landscape and the popular imagination as a forum where sexual...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 1–9.
Published: 01 May 2015
... Brother and Survivor changed televisual life as we knew it in the late 1990s, I was fascinated by American reality crime shows and British docusoaps because of their self-­conscious documen- tary aesthetic and slow, repetitive rhythms, which broke with the conventions of scripted TV.1 Big Brother...
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 192–211.
Published: 01 May 1994
... years, the trend in televisual representations of gays and lesbians has been to focus on and emphasize the “normality” and “ordinariness” of the queer subject in order to challenge both tradi- tionally stereotypical representations as well as to counter the common televisual practice...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
... at the University of Alabama. Her research interests center on televisual racial representation and its place within the media industries, particularly within the practice of casting. Warner's work can be found in Television and New Media as well as in online journals such as Flow, In Media Res , and Antenna...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 86–100.
Published: 01 September 1983
.... This article will in turn examine the portrayal ofsexuality consciouslyset forth by the show; the contradictory, disruptive portion of The Body Human; and lastly, the interworking of these sexual discourses within certain aspects of the larger televisual institution. The structure of The Body Human...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 155–189.
Published: 01 September 2002
... with tanks. We have already seen the police “firsthand” when Lenny drives through the streets of LA in the film’s second sequence, so these medi- ated, televised images are familiar, but the film alters their tone in the televisual second instance with the news anchor’s voice-over. She states, “New Year’s...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 190–194.
Published: 01 December 1989
... is particularly important: if we are to explain how cinematic and televisual codes resonate with social and psychic codes of sexual difference, then we must go beyond merely categorizing “images of women” in order to explore the ways in which various visual and narrative regimes...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 11–45.
Published: 01 September 1990
... of this ontological distinction between “linguistic” and “plastic” representations that still reigns in aesthetic theory today? This problem is crucial for the study of contemporary mass culture and the newest forms of mass communication. Cinematic, televisual, and other electronic media have already...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 183–184.
Published: 01 May 2006
..., race/ethnicity, and class. Submissions can address general aspects of cinematic, televisual, or musical divadom or can focus on particular divas. Shorter appreciations should be written from a scholar-fan perspective, although this approach might also inform the essays. Among...