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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 1–31.
Published: 01 December 2013
...) Afterlife and Afterimage: Maya Deren in “Transfigured Time” Lucy Fischer Maya Deren has long been hailed as an inspired trailblazer of the New American Cinema and a female pioneer in a field dominated by men. So it was fitting that in October 2011, the fiftieth anniver- sary of her...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1986) 5 (3 (15)): 66–85.
Published: 01 December 1986
...Constance Penley © 1986 by Camera Obscura 1986 The Terminator (James Cameron, 1984) Time Travel, Primal Scene, and the Critical Dystopia Constance Penle y If the sure sign of postmodern success is the ability to inspire spin-offs, The Terminator was a prodigy. The film was quickly...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2000) 15 (1 (43)): 163–191.
Published: 01 May 2000
...-191 6/7/00 11:56 AM Page 163 Bahram Bayzai’s Maybe . . . Some Other Time: The un-Present-able Iran Negar Mottahedeh In a paper given in Paris and published in Iran-nameh’s special issue on...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... Woolf's modernist “moment of being”; the performativity of gender and kinship (Judith Butler, Eve Kosofsky Sedgwick); and theories of queer time and affect (Judith Halberstam, Elizabeth Freeman, Lauren Berlant). These readings probe The Hours 's return to mediated cultural ideals of white conjugal and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
...Denise Mann © 1984 by Camera Obscura 1984 Modem Sexuahty (1979) Staggering Toward Modern Times: The Video Art of Max Almy DeniJe Man n Max Almy’s video art moves from the highly personal, low-tech, black and white multi-monitor performance piece to that of the multi-layered, high...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2017) 32 (3 (96)): 33–61.
Published: 01 December 2017
... Times Three: The “Modern Family Effect” and the Privatization of Diversity Douglas S. Ishii Modern Family, a half- hour mockumentary sitcom that premiered in September 2009 on ABC, has given rise to what has been called the “Modern Family effect.”1 Modern Family...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
... specifically on JenniCam and the LiveJournal community “exhibitionism_2,” as well as more broadly on the ways in which the Internet reconfigures psychic and archival structures. Such developments draw mediated scopophilia ever closer to the domain of archival knowledge, while at the same time unsettling the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... inability to transcend it — as if “time capsules” without a destination. An exemplar of the penchant for “dated sexuality,” filmmaker Anna Biller restages the profilmic universe of the sexploitation oeuvre in her film Viva (2007). Viva 's narrative of two women's entrance into the sexual revolution and its...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 1–2.
Published: 01 December 2016
...the Camera Obscura collective In honor of the journal's fortieth anniversary, this special issue of Camera Obscura considers theories and practices of collectivity. Camera Obscura has operated through a feminist editorial collective since its beginnings in the 1970s, a time when many forms of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 1–2.
Published: 01 May 2016
...the Camera Obscura collective In honor of the journal's fortieth anniversary, this special issue of Camera Obscura considers theories and practices of collectivity. Camera Obscura has operated through a feminist editorial collective since its beginnings in the 1970s, a time when many forms of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
... the temporal underpinnings of After Life 's evocation of photogénie , seasonal passing, memory, identification, and gendered experience to show the sensual gravity of benevolent attention. I argue that After Life illustrates the way in which film can enable our taking the time to learn a sensual and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 81–109.
Published: 01 December 2008
... that Female Sensibility is revealing of a broader set of contradictions operating in art and visual culture at the time around the production and reception of female sexual (self-)representation. Camera Obscura 2008 Susan Richmond is an assistant professor of art history in the School of Art and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
... taken in the throes of war during the US occupation of Iraq, the essay asks, following the lead of Judith Butler, what is visual culture's critical task during times of war? Errol Morris's Standard Operating Procedure points the way. This extraordinary documentary film, grounded in interpretations of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 41–73.
Published: 01 September 2010
.... This essay considers how Rottenberg's stagings of industrial production lines engage with post-Fordist phenomena such as deindustrialization and affective labor. In works such as Time and a Half, Mary's Cherries, Tropical Breeze , and Dough , Rottenberg conveys the incongruity between industrial...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
.... This article focuses on one of the most commercially successful Hollywood films of 1946, John M. Stahl's Leave Her to Heaven, arguing that the film's spectacular Technicolor landscapes function as a melodramatic device for mediating ambivalence about the social role of women at that time. In this film...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 101–141.
Published: 01 December 2011
...Kriss Ravetto-Biagioli Alfred Hitchcock's Vertigo is one of the most acclaimed films of all times, recognized by scores of critics, film theorists, and film historians as a pivotal work in both film history and film theory. By now, Vertigo is so deeply embedded in film theory that it is almost...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
... governmentality. Shot in real time between 2002 and 2007, And I Do Survive takes as its subject the HIV-positive bisexual activist Michelle Lopez. Born in Trinidad, Lopez has been in the US for close to two decades now but has been unable to acquire citizenship because of a legal ban on HIV-positive immigrants...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 65–89.
Published: 01 September 2011
.... Supernanny is a hybrid form of pedagogical television: Third Way TV — a commercialization of the public service model. In a time when public subsidies and the delivery of services like child care have all but disappeared, the institution of commercial television easily fills the gap. Supernanny readily...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
... sexy and sexually unavailable. In this light, teenage girls, Twilight moms, and gay men could fabricate their own individual ideas of what it means to fall in love with the idea of love for the first time, with a figure that is both abundantly available as a sexual imagination but physically...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 146–153.
Published: 01 December 2011
... reveals her attempts to fit into the male-dominated business of film directing by distancing herself from gender issues, while simultaneously aligning herself with traditionally male-identified traits, such as toughness and the desire for control. Articles appearing during this time also routinely mention...