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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 42–74.
Published: 01 May 1997
...Jodi Dean Copyright © 1996 by Indiana University Press 1997 Swamp Gas by Jeffrey Westover, 1997. Courtesy of the artist. The Truth is Out There: Aliens and the Fugitivity of Postmodern Truth Jodi Dean Arrival Aliens have invaded the United States. They swarmed over...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1996) 13 (1 (37)): 124–154.
Published: 01 January 1996
...John Michael Copyright © 1996 by Indiana University Press 1996 Science Friction and Cultural Studies: Intellectuals, Interdisciplinarity, and the Profession of Truth John Michael Albert Einstein Meets the Nutty Professor The recent "science wars" between...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 151–159.
Published: 01 May 2008
.... Vaginal Davis’s Gospel Truths Marc Siegel A number of years ago, while in Los Angeles to pack up my stor­ age unit and complete my move to Berlin, I attended a small con­ ference on queer perspectives on Andy Warhol at the California Museum of Photography at the University of California...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
...Lisa Nakamura Images of biometric screens are becoming increasingly common in television and film, particularly in genres such as police procedurals, “terror” television programs, and medical dramas. Digital surveillant screens establish and produce authority and scientific truths about national...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
... cinema's unique means of producing the truth about race. Camera Obscura 2009 Zahid R. Chaudhary is an assistant professor of English at Princeton University. He has published articles on visual culture and postcolonial theory, and he is currently completing a manuscript on colonial photography in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
... that “conducts dehumanizing norms” and a frame that might be capable of questioning these very norms to open up our seeing and knowledge to elusive and contingent truths that lie beyond the frame's limits. The photos of Abu Ghraib pointed to, and were often evidence themselves of, crimes. But they are...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 101–135.
Published: 01 December 2012
..., a return to Austinian speech-act theory reminds us that the performative act strives to make real what is not yet real, to conjure forth and to confirm a new reality. In other words, the performative seeks to essentialize, to assert new truths at the level of the self and make them stick. In...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 103–123.
Published: 01 December 2013
..., and larger American historical events, Bechdel's novel deals with themes of trauma, memory, and historical narrative. The novel has been embraced for the queer way in which it approaches her family archive — it refuses to settle on one understanding of the truth of Bechdel's father, his sexuality, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1999) 14 (3 (42)): 163–164.
Published: 01 September 1999
... Invasion Themes in Vampire Narratives. No. 40-41; pp. 181-200. Chow, Rey Nostalgia in the New Wave: Structure in Wong Kar-wai's Happy Together. No. 42; pp. 31-50. Dean, Jodi The Truth is Out There: Aliens and the Fugitivity of Postmodern Truth. No. 40-41; pp. 43-76. DiPiero, Thomas...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 93–127.
Published: 01 May 2017
... the “naked truth” in Les enfants du paradis (Children of Paradise, dir. Marcel Carné, France, 1945) A Strange Child of Paradise: The Artistry of Arletty’s “Self” in Les enfants du paradis Hervé Picherit “Un drôle d’enfant du paradis” (“A Strange Child of Paradise this is the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 138.
Published: 01 May 1992
... Copyright © 1992 by Indiana University Press 1992 Contributors Thomas DiPiero teaches in the programs of Modern Languages and Cultures and Visual and Cultural Studies at the University of Rochester. He is the author of Dangerous Truths and Criminal Passions and editor, with Pat...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 75–102.
Published: 01 May 1997
... The X-Files are con- fronted by the paradoxical mantras of post-Watergate consciousness: white capital letters appear against menacing backgrounds warning us to “Trust No One” and declaring that “The Truth Is Out There.” The episodes that follow these injunctions fascinate us not because we...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1996) 13 (3 (39)): 154–155.
Published: 01 September 1996
... Muscles and Subjectivity: A Short History of the Masculine Body in Hong Kong Popular Culture. No. 39; pp. 105-125. Michael, John Science Friction and Cultural Studies: Intellectuals, Interdisciplinarity, and the Profession of Truth. No. 37; pp. 125-156. Nericcio...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 33–59.
Published: 01 December 1982
... kinds of gestures in other kinds of work.) The interviews with the children are prefaced by titles which are also seen interspersed throughout, commenting with various degrees of directness on the image: DARK CHEMISTRY, TRUTH, TELE- VISION, STORY, YOU, LIGHT...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2003) 18 (2 (53)): 57–91.
Published: 01 September 2003
... forgery is obvious. We have here, however, a double forgery. First, Joan, as she herself will admit later, is lying to save her own life. Insofar as her signature is meant as a token for her truthfulness, it is a forgery. Far from disrupting Bordwell’s argument, this lie sup- ports it: Joan’s...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
... in classical noir films. Consider the frequent deployment of Ori- entalist decor, Asian women, and the back alleys of Chinatowns in noir films, all of which evoke exoticism, provoke curiosity, and draw characters and viewers into a search for the truth behind the fasci- nating surface. This...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 321–322.
Published: 01 September 1991
... (forthcoming, Routledge). At present he is writing a book on American masculinity and the movies during the fifties. Thomas DiPiero teaches French and -comparative literature at the University of Rochester. He is the author of Dangerous Truths and Criminal Passions: The Evolution of the French...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... character; it is here that the Histories of   The Watermelon Woman  •  53 women’s filmmaking practices mentioned at the beginning of this essay become most salient.23 Cheryl’s project within the film is a documentary seeking to find out the “truth” about a black woman...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1997) 14 (1-2 (40-41)): 4–14.
Published: 01 May 1997
... skeptics alike think themselves in the galaxy. No longer the center of attention in the universe, we have had to adjust to the fact that if the truth is out there, it might just be that we are not alone.’ We want to lay particular emphasis on the fact that the UFO crashed in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 111–114.
Published: 01 September 1980
... individual women are no longer the place where cinematic constructions attain the status of truth. Relations of passivity and identification are rejected: this displacement of women as the focus for the spectator’s desire for a “true-life story” refutes the idea that these women are responsible for...