Skip Nav Destination
Close Modal
1-20 of 142 Search Results for
traumatic
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
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...
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...
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
... the 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 (2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
... the 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 (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
... 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 cinema's...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 33–63.
Published: 01 September 2021
...Jasmine Hu Abstract The Japanese annexation of Korea (1910–45) implicates a crisis of representation in South Korean national history. Both the traumatic wounds and complex intimacies of Japan's rule over its Korean subjects were met with postcolonial suppression, censorship, and disavowal...
FIGURES
| View All (4)
Journal Article
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
..., and hallucinations to pro- duce a far different impact 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...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 112–132.
Published: 01 May 1988
...-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 of collision...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 93–133.
Published: 01 September 2012
...: 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
... as “haunted.”9 Haunted home narratives like The 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...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 149–179.
Published: 01 December 2002
...
traumatic discovery or event—loss, betrayal, violation—but such
testimony does not re-present the trauma. Rather, horror may
function to defend consciousness from something worse. Trau-
matic knowledge is thus screened by means of something else,
horrible but not it, that distracts our attention from...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 88–107.
Published: 01 September 1991
...
understand what it is, or even what is going 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...
Journal Article
Camera Obscura (1992) 10 (2 (29)): 130–149.
Published: 01 May 1992
... are not in themselves either violent or
traumatic, their organization, rapid pace of presentation, and curiously
alien character foster the impression that something both violent and
traumatic, alien and distinctly “unnatural,” has just taken place. This 135
impression is encouraged by both...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 91–117.
Published: 01 September 2022
... Massacre have contributed to configuring it as a national traumatic symbol of China's victimization by imperialist invasions in the twentieth century: “a highly sensitive event to Chinese people, causing anger when doubted and contempt when misconstrued.” 13 Notably, it was also during the 1980s...
FIGURES
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 4–14.
Published: 01 May 1997
... 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 discursive
existence...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 117–127.
Published: 01 January 1988
... memory, transgression,
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...
1
