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urban memory

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
....” © 2015 by Camera Obscura 2015 Korean modernity colonial memory urban memory noir space forgotten future Figure 1. CGI reconstruction of Kyung-­Sung in the 1930s in Modern Boy (dir. Ji-­woo Jeong, South Korea, 2008) Kyung-Sung:­ Cinematic Memories of the Colonial Past in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
...Jinying Li This article examines the Folk Memory Project, a collective documentary initiative in China that organized young filmmakers to return to their home villages to interview elders and unearth silenced memories of the devastating Chinese Great Famine of 1959–61. Focusing on two films...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 78–116.
Published: 01 January 1988
... ghosts from the past. Urban, ethnic working-class situation comedies provided one means of addressing the anxieties and contradictions emanating from the clash be• tween the consumer present of the 1950s and collective social memory about the 1930s and 1940s. The consumer consciousness emerging...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
...Domietta Torlasco This article interrogates the relation between memory and creation in Monica Bonvicini's installation Destroy She Said and Agnès Varda's film The Gleaners and I , both involving the adoption of digital technology and the simultaneous appropriation of analog materials. It is my...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2005) 20 (2 (59)): 119–163.
Published: 01 September 2005
... Galliera and in Kahn’s secreening room. Courtesy Les Documents Cinématographiques, Paris “These Spectacles Are Never Forgotten”: Memory and Reception in Colette’s Film Criticism Paula Amad It is the image in the mind that binds us to our lost treasures, but it is the loss that...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 195–225.
Published: 01 December 2001
... article in Discourse on the film Suture and its treatment of race. 06-Burns.sh 194-225=32pg 4/18/01 4:03 PM Page 194 06-Burns.sh 194-225=32pg 4/18/01 4:03 PM Page 195 Erasure: Alienation, Paranoia, and the Loss of Memory in The X-Files...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... and nonsight in the context of war in Southeast Asia, illuminating the contradictions of representing Cambodian history and “seeing,” or apprehending, trauma and memory through cinema. I trace the connected, if not commensurate, powers that seek to make sense of their senselessness, their blindness...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 157–191.
Published: 01 May 2012
...-Lucumí/ Santería mythology, and in general creolized in postcolonial Cuba in María Antonia . As each Carmen film reworks the narrative of Carmen to fit its particular culture and to critically discuss social inequalities plaguing its society, María Antonia resituates Carmen in urban Havana to expose and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 141–151.
Published: 01 December 2016
... perspectives. Such issues include the process of urban redevelopment in Seoul, the global environmental crisis, utopian aspirations in the neoliberal economy, and the Korean authorities' ideological control of citizenship. The collective's imperative to engender sensory and affective engagement with these...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... expressed in both the film's narrative and in its cinematic apparatus. The Mizrahi woman's unceasing daily encounters with class and gender oppression, which she comes to internalize, constitute an ongoing trauma. The chronic nature of this trauma does not allow her to turn it into post-traumatic memory...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... “dated” precepts of the genre and its period, encourages a historiographic reconsideration of the sexploitation form, particularly in how it speaks to the spectatorial experiences of women, the undesignated audience of the genre, as well as to public memories of the sexual revolution. This article argues...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
...Therese Davis The article looks at the contributions of writer and director Darlene Johnson to an emerging Australian Indigenous cinema. It discusses the ways in which Johnson draws on her experience as a young, urban Indigenous woman and her knowledge of Aboriginal culture to explore the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
...' critiques of the drama's portrayal of sex, love, and relationships. Through a critical examination of these two facets, I argue that the drama brought a certain complexity to the representations and discussions of emotions and economic struggles of urban citizens in contemporary Chinese society. However, in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2002) 17 (3 (51)): 180–182.
Published: 01 December 2002
.... Edgerton, Gary, and Peter C. Rollins, eds. Television Histories: Shaping Collective Memory in the Media Age. Lexington: University Press of Kentucky, 2001. Estrin, Mark W., ed. Orson Welles: Interviews. Jackson: University of Mississippi Press, 2002. Eyles, Allen. Odeon Cinemas 1...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1990) 8 (2 (23)): 176–205.
Published: 01 May 1990
... means to seize hold of a memory as it flashes up in a moment of danger. . . . The danger affects both the content of the tradition and its receivers. The same threat hangs over both: that of be- coming a tool...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2001) 16 (2 (47)): 1–35.
Published: 01 September 2001
... of privilege and protection. Perhaps I longed for them as a teenager because of my early memories of industrial Indiana. Maybe I shared with Gudrun Brangwen, in Lawrence’s Women in Love (1921), a sense that the city was voluptuous in its grittiness, and this was my way of domesticating...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2001) 16 (1 (46)): 143–179.
Published: 01 May 2001
... been taking note of working-class banlieues (industrial suburbs) and their inhabitants with increasing frequency.1 Often the gesture toward peripheral urban spaces and working class and immigrant cultures becomes part of an overdetermined equa...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
... in Studies in the Humanities, Journal of Film and Video , and Journal of Urban Cultural Studies . She is the co-chair of the Urban Studies Scholarly Interest Group for the Society for Cinema and Media Studies and a founding managing editor of the online journal Mediapolis . She is currently...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1990) 8 (2 (23)): 4–7.
Published: 01 May 1990
... opened up a public space through which young, black, urban, working-class women can express their cultural power, sexuality and anxieties. Drawing on George Lipsitz’s application of dialogic criticism to popular music, Rose argues that women rappers have to be seen in terms of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2007) 22 (3 (66)): 129–167.
Published: 01 December 2007
..., held at the Los Angeles County Museum of Art. Her work as a femi- nist multimedia artist and performer spans from the late 1960s until today, and though it has always been provocative — in terms of reflexivity, identity, power, ephemera, and memory — it had received relatively little critical...