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Journal Article
Camera Obscura (2025) 40 (1 (118)): iv–27.
Published: 01 May 2025
...Ashley T. Shelden Abstract This article puts John Waters into conversation with Julia Kristeva and Jacques Lacan, shedding new light on the political significance of the abject in Waters's trash cinema. The argument focuses on Waters's uses of the abject in both his early “transgressive” films...
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Journal Article
Camera Obscura (2018) 33 (1 (97)): 1–27.
Published: 01 May 2018
...Özgür Yaren This article explores trash erotic productions in 1970s Turkish cinema. What was popularly referred to as the “sex influx” ( seks furyası ) was the result of persistent economic and political crises and symptomatic of the ends of certain cultural and economic modes dominant in film...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 180–181.
Published: 01 May 2001
... in Baudelaire’s Poetry, Truffaut’s Cinema, and Freud’s Psychoanalysis. Ann Arbor: University of Michigan Press, 2000. Eberwein, Robert. Sex Ed: Film, Video, and the Framework of Desire. New Brunswick, NJ: Rutgers University Press, 1999...
Journal Article
Camera Obscura (2015) 30 (1 (88)): 185–195.
Published: 01 May 2015
...Jane Feuer This essay attempts to break down a binary opposition between “quality TV” and reality TV, which is usually set up along an axis of distinction based on aesthetic value. That is: HBO dramas are art; reality TV shows are trash. As Misha Kavka writes, “Because reality television is seen...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... media technologies. Technophilic television programs like 24 , which create pleasure out of paranoia and dramas out of identification, employ digital special effects sequences like FRSs to demonstrate the power of both cinema and science to reveal hidden identities. These identities are often racialized...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 169–179.
Published: 01 December 2012
... EXPRMNTL was living proof that the cinema was more resil- ient and adventurous than its critics.11 In the end, American lms again ran away with about half of the awards, and yet — due to the • Camera Obscura new regulations of the festival — none of the big names won.12 The jury had decided...
Journal Article
Camera Obscura (2023) 38 (2 (113)): 89–117.
Published: 01 September 2023
... In 1974, while reflecting on his contributions to early gay cinema of the previous six years, the pioneering gay filmmaker-activist Pat Rocco boasted that he cast his films with ease: “As far as having problems casting for films, there was never any because it was a matter of ‘Keep them away, brush them...
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Journal Article
Camera Obscura (1980) 2 (3 (6)): 122–152.
Published: 01 December 1980
... liberally subsidizing young filmmakers for the last ten years) provides publicity and even has programs to stimulate international distribution for that collective nonentity known here as New German Cinema. But the proteges are mainly the well-known directors who already have penetrated the American...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
...Elena Gorfinkel American sexploitation cinema of the 1960s and early 1970s has gained a second life in the past two decades through a boom in video and DVD distribution and rerelease, and consequently a new, generationally distinct audience. This article proposes that what appeals to cult audiences...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 115–147.
Published: 01 December 2002
...Emily Shelton Camera Obscura 2002 Emily Shelton received her Ph.D. in English from the University of Chicago in August 2002; “A Star is Porn” won a 2001 Society for Cinema Studies student writing award. She recently completed a novel, Memphis , based on a 1993 case of child murder...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 1–35.
Published: 01 September 2001
... . . .” “LOSMIMILOCOS MAZACOTEYORO- ROUEST.” “FOOD.” Signs and cinema arcades in The Crow are stripped of their letters, or they say meaningless things like “trash.” Eric Draven writes on the pocked concrete of an alley not a word but the fiery image of a crow. The clues given us in Dark...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 1–43.
Published: 01 May 2000
... the cultural logic of purity and feminist studies of the body in the contemporary literature and cinema of exile. CO 43-1, 1-43 6/6/00 2:47 PM Page 1 Cinematic Exile: Performing the Foreign Body on Screen in Roman Polanski’s The Tenant...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 187–237.
Published: 01 January 1996
... representations of their own communities. One has only to remember how Tarzan films, Zulu technicolor extravagan- zas and blaxploitation feature films, (remarkably enjoying a renaissance in cinema art houses of late) like Mandingo (1975, directed by Richard Fleischer...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 1–43.
Published: 01 September 2013
...Alessandra Raengo This essay pursues an understanding of the blackness of black cinema that is unhinged from the body of the maker or the content of the image. It does so by reading blackness through the visual paradigm of the shadow — that is, as a blackness that cannot, other than ideologically...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 77–97.
Published: 01 May 2001
... of film theory. For the past eight years she has been an editor of iris . She also serves as the French correspondent for the International Forum of Young Cinema at the Berlin Film Festival. 03-Bluher.sh 5/29/01 12:38 PM Page iv Souviens-toi-de moi [Remember Me] (1995/96...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 1–21.
Published: 01 December 2004
... in the cinema, psychoanalytic theory, television, and sexual and racial difference in film. Jonathan Rhys-Meyers as Brian Slade/Maxwell Demon in Velvet Goldmine (UK/US, 1998). Courtesy Miramax Pathos and Pathology: The Cinema of Todd Haynes Mary Ann Doane Because infinity—for the eye—begins...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 187–213.
Published: 01 May 2021
... up and expand on her lifelong passion for still and moving images, painting, photography, and cinema. The author also shows how Varda has rethought and reworked certain subjects that mattered to her throughout her career, by means proper to this new medium. Varda always had the gift to give us...
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Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 41–72.
Published: 01 September 1991
... 19.3 (Aug. 1957 ): 227 –33. Hansen , Miriam . “Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship.” Cinema Journal 25.4 (Summer 1986 ): 6 –32. Haskell , Molly From Reverence to Rape: The Treatment of Women in the Movies . New York: Penguin, 1974...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... claim that, as gestures of reinscription rather than of neutral recording, these works not only expand but also confront, disturb, and ultimately reconstitute the memory of cinema we have inherited. Beyond the opposition between continuity and discontinuity, what I propose to call “digital memory...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
..., their sex, and their sound tracks; it would seem that the footage in both films might have been shown in any order, that anyone on-screen might have sex with anyone else, and that any ambient sound might score any image. In cinema, synchronization takes disparate image and sound tracks and fixes them...