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traumatic

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Journal Article
Camera Obscura (2004) 19 (3 (57)): 157–185.
Published: 01 December 2004
.... Currently he is a visiting assistant professor at the University of Southern California's School of Cinema-Television. Courtesy Miramax Traumatic Postmodern Histories: Velvet Goldmine’s Phantasmatic Testimonies Edward R. O’Neill If modernity was characterized by and imagined itself in...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... argue that Or, My Treasure is a critical Mizrahi feminist film that exposes the hegemonic social gaze as a political mechanism of power and violence that terrorizes the Mizrahi female body. The ethnic, class, and gender oppression of the Mizrahi female subject creates a traumatic experience that is...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 77–107.
Published: 01 May 2020
...Raya Morag The remarkable gendered renaissance of post–Khmer Rouge (KR) New Cambodian Cinema is evidenced in recent years through first- and second- generation post-traumatic films. This article analyzes one prominent example—Lida Chan and Guillaume P. Suon’s Noces Rouges ( Red Wedding , Cambodia...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
...Benjamin Balthaser In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 63–87.
Published: 01 September 2017
... representation of masculine traumatic symptoms in both Richard Condon's 1959 novel and Frankenheimer's cinematic adaptation of it. In a period of national shame about the unwon Korean conflict, Frankenheimer first feminizes his protagonists by rendering them hysterical, and then allows them to redeem themselves...
Journal Article
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...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
... categories of difference regulating human organization and politics are as temporary and as transient as all historical artifacts. Alterity-as-biopolitics is also, however, a kind of traumatic sign that persists across history, and its meaning is often concealed. The article concludes with speculation about...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
... obscenities of US empire during the early Cold War period. While Linda embodies and enacts the pleasures of feminine spectacle, Mei Li offers an alternative, premodern method of looking that brings into relief the traumatic elements of national modernity. This study first provides an account of how...
Journal Article
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
... on the viewer than do those of melo- drama, bound as it is to linearity or story. 3 In what follows, I show how the silent melodrama Joyless Street draws on the experimental techniques enumerated by Kaplan in its rendering of what I call traumatic realism, and, in the process, I demonstrate the...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 112–132.
Published: 01 May 1988
... accident victim-a traumatized, and, in one sense, hysterical spectator. As Schivelbusch notes, early railroad travelers lived a double relation to the train journey: the pleasure of speed, the thrill of the “projectile” being shot through space, matched against the terror...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 93–133.
Published: 01 September 2012
... Masculinity: Post-Traumatic Cinema in the Aftermath of War (Peter Lang, 2009]) and The Defeated Male: Cinema, Trauma, War (in Hebrew) (Koebner and Resling, 2011). Her book Waltzing with Bashir: Perpetrator Trauma and Cinema is forthcoming (I. B. Tauris, 2012). © 2012 by Camera Obscura 2012 From...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 33–57.
Published: 01 May 2005
... Obscura been buggered and its offspring is the monstrous reversible, the effect that insists on preceding its cause. This article theorizes the relationship between the Deleuzian time-image and traumatized bodies. In particular, though it is a topic elided in Deleuze’s film-theoretical texts...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
... Amityville Horror, along with other films that constitute this previous cycle like The Changeling (dir. Peter Medak, US, 1980) and Poltergeist (dir. Toby Hooper, US, 1982), extend traumatic aftereffects beyond the experience of the original victim(s) by attaching them to the physi- cal locales where...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 88–107.
Published: 01 September 1991
... on. But as film spectators, as soon as we see “human” figures, we assume that the narrative of the film has begun. But this initial sequence does not mark the beginning of the film’s narrative. Instead, it operates like a traumatic “primal scene” that the film replays...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 4–14.
Published: 01 May 1997
... an alternative signifying system within another system, a system gener- ally referred to as “dominant.” We are consequently not particularly interested in the specific traumatic aspects that their recognition repre- sents, but in the competing or corollary logics that their...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 155–168.
Published: 01 May 1988
... cences,” then we have the formula for much of the action in Pee-wee’s Playhouse. What is remarkable in this second formulation of Freud and Breuer is the general, the unqualified character of “reminiscences” which are not specified here as being traumatic ones.6 It is perhaps too much to say...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 4–8.
Published: 01 January 1988
... example, alter• nation, linearity and the female spectacle) in a television form that nonethe• less departs from classical storytelling conventions. Flitterman-Lewis re• lates this to the level of content by discussing female characters who, on their wedding day, reenact traumatic...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 59–63.
Published: 01 May 2006
...), 197 – 257; and Bataille, Erotism: Death and Sensuality (San Francisco: City Lights, 1988), 164 – 96. 3. Jacques Derrida, “Passages — From Traumatism to Promise,” in Points . . .: Interviews, 1974 – 1994, trans. Peggy Kamuf, ed. Elisabeth Weber (Stanford, CA: Stanford University...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 149–179.
Published: 01 December 2002
..., as the thing whose fascinating effect conceals something ‘more horrible than horror itself,’ the primordial void or antagonism.”5 The very “excess” of horror, that is, bears witness to the existence of some traumatic discovery or event—loss, betrayal, violation—but such testimony does not re...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 117–127.
Published: 01 January 1988
..., female sexuality and death. Each ceremony is interrupted at a critical moment, and while the immediate consequences differ, the long-term ef- fects are the same. Kevin and Terry are finally married after Terry, reliving her traumatic past, comes to terms with her personal disgrace by trium...