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the Cultural Revolution

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Journal Article
Camera Obscura (2019) 34 (3): 1–29.
Published: 01 December 2019
... representative film, Sacrificed Youth (青春祭, 1985), exploring its complicated negotiation with the socialist legacy and new post-Mao discourses. With a highly subjective and documentary experimental style, the film articulates a double critique of political and cultural uniformity during the Cultural Revolution...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 137–145.
Published: 01 December 2011
... of pop cultural and media forms as resources and creative materials, Biller details the nature of her aesthetic preoccupations with the material ephemera of the “sexual revolution,” as well as its aftermaths. © 2011 by Camera Obscura 2011 Elena Gorfinkel is assistant professor of art history...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 4–7.
Published: 01 September 1988
... have seen as much change and reassessment of the past as the ten years of the "cultural revolution" which preceded them. Just to give one example, before 1979 the "cultural revolution" itselfwas written as The Cultural Revolution, not the "cultural revolution." This state of flux...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 20–25.
Published: 01 September 1988
... Interview with Zhang Nuanxin Zhang Nuanxin was born in 1940. After graduating from high school, she studied in the Directing Department of the Beijing Film Academy from 1958 to 1962, and then stayed on there as a teacher. After the "cultural revolution," the Academy sent her to Shanghai...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 8–40.
Published: 01 September 1991
... of this image -intellectuals, oxen, the masses -are what make up Chen Kaige’s Haizi wang (King ofthe Children) (Xian Film Studio, 1987), a film based on the novel of the same title by A Cheng ( 1984).12The story of King of the ChiZdren takes place in the post-Cultural Revolution period...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 8–19.
Published: 01 September 1988
... forward However, these tendencies, which probably found their greatest expression during the "cultural revolution," have always been perceived and spoken of them• selves as working against the dominant traditions. Within Marxism• Leninism as it operates in the People's Republic, democratic centralism...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 169–179.
Published: 01 December 2012
... on in the experimental lm world today.3 As with other cultural formations, EXPRMNTL happened at a point of transition and intersection within a complex social his- tory: the roaring s. In at the occasion of EXPRMNTL , the world was ripe for a cultural revolution, and the festival became the scene...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 127–136.
Published: 01 September 1988
... in pointing to this transitional phase within Cabiers that prepared the response to the cultural revolution of May 1968. Truffaut and Rohmer realized that their confrere Rivette was taking the magazine into a new arena when he called for a cinema of action over expression...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 77–105.
Published: 01 September 2009
... behavior: “the cerebral orgasm of the dogmatists or religious fanatics” and “the muscular orgasm of compulsive workers, athletes, or artists.” The ad hoc rally culmi- nates in a joyous solidarity dance, which is contrasted to images of orderly mass rallies in China of the Cultural Revolution...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
... Lotus, a prostitute whose fate is depicted as the result of patriarchal oppression, which motivates this narrative. Reborn into the China of the Cultural Revolution, Golden Lotus’s life becomes a web of past life memories and present-day reenactments of those memories. Various male...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 24–53.
Published: 01 January 1989
... between Earth and Stalin’s agricultural policy, see Vance Kepley, In the Sewice of the State: The Cinema of Alexander Dovzhenko (Madison: University of Wisconsin Press, 1986) 75-79; and Paul E. Burns, “Cultural Revolution, Collectivization, and Soviet...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 26–31.
Published: 01 September 1988
... Interview with Peng Xiaolian Peng Xiaolian was born in Shanghai in 1953, and spent nine years laboring in the countryside during the "cultural revolution." Like Hu Mei, she entered the Directing Departmentof the BeijingFilm Academy in 1978, and graduated in 1982 as a member of the "Fifth...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 131–160.
Published: 01 December 1982
....) increasingly take on a value identical to that of shots 54 and 52, for example, which are photos of the Cultural Revolution-although, as will be seen, this can occur only because the figures have a rather special status.) Moreover, this last effect is spontaneously recognized by all who view...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 141–166.
Published: 01 September 2008
... output, particularly during the Excess/Erasure in Gay Chinese Melodramas  •  145 Cultural Revolution. It is with the rise of the Fifth and Sixth Gener- ation filmmakers (graduates from the Beijing Film Academy) that a shift toward a willingness to take on queer sexuality...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 32–41.
Published: 01 September 1988
... are Tian Zhuangzhuang's, and mine are mine. CB: Why do you think you make the kind of films you make? HM: I feel my thinking got complicated very early. I was only nine years old when the "cultural revolution" started up. I was a child. When my parents were arrested and taken...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 99–131.
Published: 01 December 2016
..., as one that captures, stores, processes, and transmits information. Many Notes on Digital Community and Revolution  • 123 threads of the complex phenomena called “digital culture” today function to secure and normalize this infrastructural ontology even where...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 4–40.
Published: 01 September 1993
... revolutionism cannot be separated out from the ques- tion of fetishism. Her positive valence notwithstanding, Melina thus appears, like Lori, as an agent of castration, which association is made graphically clear when she grabs Quaid’s crotch in the bar before they go upstairs to her room...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 47–73.
Published: 01 September 2004
... (Jorge Perugorría), in Tomás Gutiérrez Alea and Juan Carlos Tabío’s Fresa y chocolate, is a gay white photographer who works for a cultural organization in Havana. Although he is a believer in Cuba’s revolution, he maintains a highly principled commitment to aesthetics. His sexuality, however...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
... of the quotidian” (302). In other words, when revolution retreated as the founda- tion of dominant values, the discourse of love faced new challenges. Especially since the 1990s, love and its complicated relationship with consumer culture have occupied the “realm of the quotidian,” replacing...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 41–69.
Published: 01 May 2015
... Revolution vacates these questions by culturalizing the (re)production of obesity in Huntington in terms Mediating Biopolitics in Obesity Programming  • 55 of an ossified zone of poor decision making: a culture of obesity. In a classic social scientific gesture, a soft critique...