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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
... Tanaka's Acting in Mizoguchi Films,” was published in Screening the Past . Shiraito (Irie Takako) looks at her absent lover’s desk in The Water Magician (dir. Mizoguchi Kenji, Japan, 1933). Courtesy Tokyo National Film Center In the Twilight of Modernity and the Silent Film: Irie Takako in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
...Victor Fan This article studies the success of the Twilight franchise in relation to the stardom of Robert Pattinson by proposing a model of interpretation called “the poetics of addiction.” The term addiction is used in this essay not as a top-down form of dependency but as a multilateral and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 181–183.
Published: 01 December 2012
... Interregional Business Relations in the Twilight  Series. No. 79: 31 – 67 Peter X Feng Tongue Twisters: The Travelogue Videos of Ming-Yuen­ S. Ma. No. 79: pp. 69 – 95 elle flanders Road Movie: Notes from the Field. No. 80: pp. 165 – 175 Jennifer Fleeger Deanna Durbin and the Mismatched...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
... “loyal community of females” constituted by the main six ponies: Twilight Sparkle, Apple Jack, Rarity, Pinkie Pie, Fluttershy, and Rainbow Dash.40 As Robert- son notes, despite comic or self-­reflexive elements, the program’s drama remains focused around “the ups and downs of friendship and the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
... by, commercial forms. Of course theatrical release remains the goal for feature filmmakers (often even for documentarians), and for independent filmmakers it may be a receding one. In 2008, erstwhile indie Cath- erine Hardwicke’s Twilight (US) broke the box-office record for...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 159–167.
Published: 01 December 2013
... ‘essentially insubstantial,’ as it will remain in 162  •  Camera Obscura the twilight zone of connotation” (xii). Doty insists, as Wood had insisted two decades before him, that queerness is less “in” texts than in the reception and production of texts, in the “cultural and erotic investments” of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... includes Oksana Bichkova Piter( FM, 2006), Anna Melikian (Mermaid [Rusalka, 2007 and Angelina Nikonova (Twilight Portrait [Portret v sumerkakh, 2011 Working within the male-­dominated Russian film industry, these young female directors often follow production, distribution, and exhi- bition...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 4–33.
Published: 01 May 1992
... unfamiliar, if not the terrifying. Given its racial overtones, Richardson’s opening passage is particularly strik- ing: Meekly punctual, clasping our prejudices in what might just possibly prove to be a last embrace, we entered the familiar twilight: the softly-gilded...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2001) 16 (2 (47)): 1–35.
Published: 01 September 2001
... enormous. Detail is important. As a child, I nursed a potent fantasy that I could have an entire doll city to play with, to see at once, and to imagine that I lived in. I drew maps of it and countless pictures of its various neighbor- hoods, always seen from a bird’s-eye view, always at twilight, when...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2006) 21 (2 (62)): 108–143.
Published: 01 September 2006
.... They combine a shared thematic concern with the filmmakers of the New Ger- man Cinema modernist avant-garde with a deconstruction of and departure from history-laden tropes.18 In Twilight Memories, Andreas Huyssen argues that sig- nificant post-1960 German-language literature is...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 1–33.
Published: 01 December 2011
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 41–69.
Published: 01 May 2015
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 71–99.
Published: 01 May 2015
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2017) 32 (3 (96)): 33–61.
Published: 01 December 2017
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1995) 12 (2 (35)): 106–128.
Published: 01 May 1995
... blaue Licht, where filtered daylight suggests a haunted twilight setting. Here, the view is clear and bright, offered without sophisticated technical manipulation. The isolated human inhabitant of Tiefland's mountains is Pedro the shepherd (Franz Eichberger), whose hut we enter. The camera lingers...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1993) 11 (1 (31)): 96–119.
Published: 01 May 1993
..., newscast, and police drama, invites its viewers to assist the police in the capture of dangerous criminals by calling in to the studio with their tips. Launched by the new Fox network in the twilight of the Reagan administration, AmericaS Most Wanted coincided with the emergence of the family as a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 35–61.
Published: 01 December 2011
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2013) 28 (2 (83)): 151–175.
Published: 01 September 2013