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Camera Obscura (2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
... 2015 reality television ratchetness black womanhood politics of responsibility affect Figure 1. Kenya Moore and Porsha Williams fight on The Real Housewives of Atlanta’s (Bravo, 2008 – ) season 6 reunion (episode 23, 30 March 2014). They Gon’ Think You Loud Regardless...
Camera Obscura (2009) 24 (1 (70)): 177–207.
Published: 01 May 2009
...Beth Coleman Is it possible to think of race as a disinterested object of our delight, as opposed to one that is overinscribed? Can race survive as something other than the remnant of a traumatic history? In this essay, I ask the reader to consider race as technology. This proposition moves race...
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
... judgment enter into film theory. Within the pretty, then, we might find unexpected potential to think aesthetics otherwise. Pretty is an invented term; that which it names is figured differently and often implicitly across film theories that have few similarities except for this strange commonality in what...
Camera Obscura (2012) 27 (3 (81)): 1–37.
Published: 01 December 2012
...Anne Kustritz While Battlestar Galactica reinvigorated the science fiction genre by representing contemporary political problems in a complex, often radical fashion, the series also makes visible a new articulation of eugenic thinking. Postmodern eugenics repurposes turn-of-the-twentieth-century...
Camera Obscura (2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... melodrama that is at once problematic and generative. I situate the film at the crossroads of two complementary and sometimes contradictory genealogies: the “thinking woman's film,” engaged with female subjectivity and authorship belonging to an influential white liberal feminist genealogy, and the...
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
... during screenings is always external, temporally and spatially, to the films themselves. Thus the concepts of queer temporality and orientations open up new ways of thinking through image-sound relations. Christmas on Earth (dir. Barbara Rubin, US, 1963). Photo documentation of screening by Allan...
Camera Obscura (2017) 32 (2 (95)): 165–173.
Published: 01 September 2017
... queer games community. By combining scholarly analysis and fan perspectives, the LGBTQ Video Game Archive offers new possibilities for thinking about how the work of queer game studies is done. Bonnie Ruberg is a Provost's Postdoctoral Scholar in the Interactive Media and Games Division at the...
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... positions of audience and performer; and, following Bertolt Brecht, what we can think of as “third-person singing.” Horne's aloofness illuminates a historically vexed connection between public intimacy and hostility to suggest that as much as intimacy could be a resource for individual and collective...
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... openness to new ideas, new people, and new connections—that makes them sane. This notion provides a way of thinking about the aesthetic and political stakes of a collaborative process of creative production, such as the one employed in the making of Shortbus and made visible in its final form. This essay...
Camera Obscura (2016) 31 (2 (92)): 93–117.
Published: 01 September 2016
... methods, the essay envisages other resonances that such acting can have in thinking about freedom and constraint within the political and economic spheres of Western culture. Manuel Ramos-Martínez is a lecturer in the Department of Visual Cultures at Goldsmiths, University of London. His research...
Camera Obscura (2016) 31 (2 (92)): 175–185.
Published: 01 September 2016
... conversation with theorists who challenge what it means to see and be visible. The first site of opacity, engaging Eve Kosofsky Sedgwick's examination of paranoid and reparative reading, asks about the limits of paranoid thinking as a response to the contemporary surveillance situation. The second site of...
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
... supervisor at The United States Steel Hour (ABC, 1953–55; CBS, 1955–63), “I think it was a shameful omission that I was not permitted to attend today’s meeting.” For decades, women like Hechtlinger and Wood have suffered such “omissions” within television history. This essay seeks to integrate their stories...
Camera Obscura (2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... neoliberalism demonstrates that embodiment in digital image networks emerges as a mode of intervention into the biopolitics of memory. Embodiment becomes the ghost in the machine of the film’s vision of neoliberal labor and memory markets. By focusing on the particular aesthetic means by which the film thinks...
Camera Obscura (2018) 33 (2 (98)): 105–137.
Published: 01 September 2018
... Edison’s dolls, IRENE to Apple’s Siri, it argues that media archaeology should have as one of its essential conditions feminist critique. Media archaeology would do well not to repress this critique, considering the no less gendered fantasy of a neutral thinking of objects stripped of desire, a fantasy...
Camera Obscura (2020) 35 (3 (105)): 30–59.
Published: 01 December 2020
...Jeremy Chow This essay considers how environmentalism can be interwoven with discourses of sexuality and the ways in which sexuality can participate in environmental justice movements. By thinking with provocative, erotic media that highlight environmental degradation, it marries investigations of...
Camera Obscura (2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
...Shweta Kishore In her films, Paromita Vohra is the trickster, the bahurupiya who entertains, unsettles, and ultimately encourages the spectator to think, reflect, and reconsider. Always penetrating in her analysis, Vohra is interested in the ways power is exercised through history and discourse...
Camera Obscura (2021) 36 (1 (106)): 41–59.
Published: 01 May 2021
... became a vital part of Varda's film corpus and of her feminist investigations of different subjectivities and desires, of the affective worlds of contemporary women and children. It takes shape in her tenderness for Jane Birkin, but also in light of her own clearer thinking about childhood, nostalgia...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 161–185.
Published: 01 December 1982
...? PK: As long as they are interested. J-LG: I was told it was going to be about an hour or an hour and a half, and I thought that’s not very long; I thought it was going to be two or three or four hours. - . . When I was thinking about this event I tried to train myself by reading some of...
Camera Obscura (1990) 8 (3 (24)): 204–205.
Published: 01 September 1990
... you think? Vol. 2. Terayama to Tanikawa Sounds of piano playing are heard. September 10th Thank you for your video letter. Mr. Tanikawa, you say that everything becomes neat when put into words. But sometimes things just have to be put into words. WORDS WORDS WORDS...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 60–73.
Published: 01 December 1982
.... Interviewer: Space-do you know what that is? Camille: Yes. Interviewer: And time-do you know what that is too? Camille: Yes. Interviewer: But what about the night? Do you think it’s space or nrne? Camille: Both. Interviewer: But not more one than the other? Or not? Camille: . . .I don’t...