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texture

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Journal Article

Queer-ing Texture: Tactility, Spatiality, and Kinesthetic Empathy in She Monkeys

Katharina Lindner
Camera Obscura (2017) 32 (3 (96)): 121–154.
DOI: https://doi.org/10.1215/02705346-4205099
Published: 01 December 2017
... of accounting for the queerness of queer cinema through a consideration of embodiment, intercorporeality, kinesthetic empathy, and a phenomenological understanding of orientation. By exploring the links between (cinematic) texture and spatiality, the article accounts for the tactile and muscular encounters...
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Hammer tactilely brings the viewer into the light and <span class="search-highlight">textures</span> of Elizabeth...

Hammer tactilely brings the viewer into the light and textures of Elizabeth...

in The Documentaries of Barbara Hammer: Lesbian Creativity, Kinship, and Erotic Pleasure in the Historical Margins > Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 2. Hammer tactilely brings the viewer into the light and textures of Elizabeth Bishop's domestic life in the biographical documentary Welcome to This House (US, 2015). Figure 2. Hammer tactilely brings the viewer into the light and textures of Elizabeth Bishop's domestic life More
Journal Article

Incestuous Wanderlust: 35 Shots of Rum 's Atmospheres of Circulation

Iggy Cortez
Camera Obscura (2022) 37 (1 (109)): 61–89.
DOI: https://doi.org/10.1215/02705346-9561423
Published: 01 May 2022
... director. However, this essay moves beyond a cursory reading of Denis's film as a celebration of paternal legacies, arguing that its atmospheric textures—the phantasmatic movement of its intertexts, the resonance of its rhythmic editing, or the vague force of its enigmatic gestures—express a critique...
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Journal Article

Is it Fake?: Black Women's Hair as Spectacle and Spec(tac)ular

Deborah R. Grayson
Camera Obscura (1995) 12 (3 (36)): 12–31.
DOI: https://doi.org/10.1215/02705346-12-3_36-12
Published: 01 September 1995
... 14 body discriminations have been inscribed and defined. “Race,” along with the body surfaces that make “race”-skin color, hair texture, facial features, and body shape-continue to serve as visual and arbitrary constructs used for the purpose of assigning human worth and value...
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Journal Article

Godard's Use of Sound

Alan Williams
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 192–209.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-192
Published: 01 December 1982
... refusal to mix and edit sound within a track once recorded5 result in a sonic texture that is continuously audible, both by the fact of implicit comparisons with “normal” sound and by the work required in listening. It can be argued that all this makes Godard a sonic “realist,” and certainly...
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Journal Article

Unlikely Genres: An Interview with Anna Biller

Elena Gorfinkel
Camera Obscura (2011) 26 (3 (78)): 137–145.
DOI: https://doi.org/10.1215/02705346-1415452
Published: 01 December 2011
... objects, fashion, and decor in your film? What did you want the aesthetic of the mise-­en-­scène to achieve? When I was researching for this film, I found that I had a very strong response to the objects, colors, and textures of the sixties and seventies — that they created for me a world...
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Journal Article

AIDS and Gay Cinephilia

Roger Hallas
Camera Obscura (2003) 18 (1 (52)): 85–127.
DOI: https://doi.org/10.1215/02705346-18-1_52-85
Published: 01 May 2003
... gestalt or narrative focus of the film, grounded as it is in a conformity to the continuity system. Cardinal summarizes the cinephile’s panoramic gaze in sensuous and spatial terms: “The [panoramic] mode roams over the frame, sensitive to its textures and surfaces—to its ground. This mode may...
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Journal Article

“Dated Sexuality”: Anna Biller's Viva and the Retrospective Life of Sexploitation Cinema

Elena Gorfinkel
Camera Obscura (2011) 26 (3 (78)): 95–135.
DOI: https://doi.org/10.1215/02705346-1415443
Published: 01 December 2011
... hearty, graphic genital frankness but for the accoutrements of these organs — the outmoded lingerie styles, the mustache, the grainy texture of the photographic technique and the assessment of how long the participants had to hold their poses in obedient tumescence. The entire book is alluring...
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Journal Article

Sembene Ousmanes Xala : Postcoloniality and Foreign Film Languages

John Mowitt
Camera Obscura (1993) 11 (1 (31)): 71–95.
DOI: https://doi.org/10.1215/02705346-11-1_31-71
Published: 01 May 1993
...)-it is designed to pose and examine questions which range well beyond the interpretive problems raised there. In particular, I attempt to locate within the texture of Xulu issues that pressure both the current theoretical pre- occupation with the role of “national cinemas” in the politics...
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Journal Article

Mary Cassatt

Nancy Wood
Camera Obscura (1983) 4 (2 (11)): 111–119.
DOI: https://doi.org/10.1215/02705346-4-2_11-111
Published: 01 September 1983
... of pastel strokes, unifying all the textures and features," permits the activity of the woman-again an attentive posture and glance directed away from the spectator-to predominate. Pollock concludes: "[the] display of a woman as spectacle gives way and 115 instead private mental activity...
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Journal Article

Books Received

Camera Obscura (1996) 13 (3 (39)): 152–153.
DOI: https://doi.org/10.1215/02705346-13-3_39-152
Published: 01 September 1996
... University Press, 1998. Stars: New Edition by Richard Dyer. British Film Institute, 1998. Textures ofLight: Vision and Touch in Irigaray, Levinas and Merleau-Ponty by Cathryn Vasseleu. Routledge, 1998. Theorising Video Practice by Mike Wayne. Lawrence and Wishart, 1997. Tropical Multiculturalism...
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Journal Article

Agnès Varda: Photography and Early Creative Process

Rebecca J. DeRoo
Camera Obscura (2021) 36 (1 (106)): 215–229.
DOI: https://doi.org/10.1215/02705346-8838613
Published: 01 May 2021
... focus on textures: grains of sand washed up on the beach, prickly edges of a broken basket, or details of wooden boards, with rough grain and jagged edges creating abstract compositions ( fig. 1 ). This close examination of wood and texture appears throughout the film. For example, the credits of La...
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Journal Article

Against House Arrest: Digital Memory and the Impossible Archive

Domietta Torlasco
Camera Obscura (2011) 26 (1 (76)): 39–63.
DOI: https://doi.org/10.1215/02705346-2010-014
Published: 01 May 2011
... treatment of light, texture, and hue — into the scene staging  Judy’s final reappearance as Madeleine, the woman she impersonates in the first half of the film. The painting is now above the bed in her hotel room, and she is walking past it, dressed and coiffed as Madeleine, a ghost enveloped...
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Journal Article

The Documentaries of Barbara Hammer: Lesbian Creativity, Kinship, and Erotic Pleasure in the Historical Margins

Ronald Gregg
Camera Obscura (2021) 36 (3 (108)): 105–117.
DOI: https://doi.org/10.1215/02705346-9349399
Published: 01 December 2021
...Figure 2. Hammer tactilely brings the viewer into the light and textures of Elizabeth Bishop's domestic life in the biographical documentary Welcome to This House (US, 2015). Figure 2. Hammer tactilely brings the viewer into the light and textures of Elizabeth Bishop's domestic life...
FIGURES
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Journal Article

Too Close, Too Far: Cultural Composition in Straub and Huillet's Too Early, Too Late

Burlin Barr
Camera Obscura (2003) 18 (2 (53)): 1–25.
DOI: https://doi.org/10.1215/02705346-18-2_53-1
Published: 01 September 2003
... in Cairo, the search for which literally removed him from the city— his presumed photographic subject. The French vistas attempt to show a distant world, flattened out, free of textures, pleasing, and unpopulated by human figures. Yet the attempts are only nomi- nally successful. These are far from...
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Journal Article

Godard and Silence

D.N. Rodowick
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 186–191.
DOI: https://doi.org/10.1215/02705346-3-4-2-3-1_8-9-10-186
Published: 01 December 1982
... system which seems to blend his voice with the texture of the sound space of the film clips presented at the same time while enforcing an unyielding distance from thc audience. I had wanted to write on what Godard said in Minneapolis only to find in searching my notes and tapes that he said...
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Journal Article

The Meaning of Memory: Family, Class, and Ethnicity in Early Network Television Programs

George Lipsitz
Camera Obscura (1988) 6 (1 (16)): 78–116.
DOI: https://doi.org/10.1215/02705346-6-1_16-78
Published: 01 January 1988
... of diverse working-class traditions. From the evocations of the Depression era that permeated the world of The Honeymooners, to the recycled min• strel show stereotypes of Amos 'n Andy, from the textured layers of im• migrant experience underpinning the drama and the charm of The Gold...
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Journal Article

On Carolee

Yvonne Rainer
Camera Obscura (2021) 36 (2 (107)): 129–133.
DOI: https://doi.org/10.1215/02705346-9052844
Published: 01 September 2021
... art historical corrective that she extracted from her vagina, and I was later to admire the grace and incisiveness of Mortal Coils (1994–95), a poignant and generous act of mourning. I was especially impressed by her devil-may-care language and writing, effervescent in their wealth of textures...
FIGURES
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Journal Article

The Dancing Soul of the Walking People (Paula Gladstone)

Janet Bergstrom
Camera Obscura (1980) 2 (3 (6)): 112–119.
DOI: https://doi.org/10.1215/02705346-2-3_6-112
Published: 01 December 1980
... with a super-8 camera, wallung many times from one end of Coney Island to the other. The photography is stunning. Partly, it is exceptional because of the sensuous, textured use of natural light. Partly, it is the photographer’s sense of composition in the frame. Partly...
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Journal Article

Grainy Days and Mondays: Superstar and Bootleg Aesthetics

Lucas Hilderbrand
Camera Obscura (2004) 19 (3 (57)): 57–91.
DOI: https://doi.org/10.1215/02705346-19-3_57-57
Published: 01 December 2004
... the characters’ emotional states and for producing audience affect. Haynes’s focus on body genres and intertextuality in Superstar presents themes and modes that have remained central to his subsequent films. Haynes not only combines disparate narrative methodologies but also textures the film...
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