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Camera Obscura (2015) 30 (1 (88)): 129–153.
Published: 01 May 2015
... is concerned. Radio host Charlamagne Tha God also tries to articulate the parameters of what makes something or someone ratchet: People try to categorize the term ratchet and try to make it something ghetto or something negative, but I just think it s letting loose a little bit. Anything young, wild...
Camera Obscura (2021) 36 (3 (108)): 33–59.
Published: 01 December 2021
... Snorton asks a particularly generative question for transnational and political mobilizations of travestismo: “How does one think about and express genres of life that are reiteratively, transitively, and transversally related to death?” 1 Writing on Brazilian Black travesti subjectivities...
Camera Obscura (2017) 32 (2 (95)): 165–173.
Published: 01 September 2017
... in the 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...
Camera Obscura (2018) 33 (1 (97)): 113–137.
Published: 01 May 2018
... of 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
... 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 likewise...
Camera Obscura (2019) 34 (3): 127–155.
Published: 01 December 2019
... 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, work...
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...
Camera Obscura (2021) 36 (1 (106)): 41–59.
Published: 01 May 2021
... 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, and fantasy...
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 (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
... 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 transformation...
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
...”—their 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
... on their 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 (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 (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 (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...
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
... 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. Lucas Hilderbrand is associate professor of film and media studies at the University of California...
Camera Obscura (2016) 31 (2 (92)): 175–185.
Published: 01 September 2016
... in 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...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 161–185.
Published: 01 December 1982
... on? 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...
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 60–73.
Published: 01 December 1982
... 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 know. Interviewer: And silence...