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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2005) 20 (1 (58)): 185–207.
Published: 01 May 2005
... produces television documentaries and short films. Velvet portrait of the “dusky maiden” from Velvet Dreams (dir. Sima Urale, New Zealand, 1997). Courtesy of TopShelf Productions Darkness and Light: Dusky Maidens and Velvet Dreams Sarina Pearson Historically, Pacific peoples have been...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
...David Copenhafer In David Lynch's Blue Velvet, music is a key component of the film's intricate staging of gender and sexuality. “Mourning and Music” interprets four scenes in which characters either sing songs or imitate singing. It argues that the unsettling appearance of gender and sexuality...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 76–91.
Published: 01 May 1992
...Lesley Stern Copyright © 1992 by Indiana University Press 1992 Blue Velvet (David Lynch, 1986) The Oblivious Transfer: Analyzing Blue Velvet Lesley Stern 1. Me Jane Before I begin there is something I want you to remember. Whatever I have to say, today, about Blue Velvet, I say in the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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 terms...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 33–63.
Published: 01 September 2011
... become liminal. Through close readings of The Seven Year Itch, Blue Velvet, Three Little Pigs, and The Empire Strikes Back, I track the range of meaning found in cinematic breathing, from the figurative presence of erotic breath in pornography to the literal associations of air and environment in...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1988) 6 (2 (17)): 215–216.
Published: 01 May 1988
... candidate in Communication Arts at the Uni- versity of Wisconsin-Madison. His work on popular culture has appeared or is forthcoming in Wide Angle, Journal of Communications Inquiry, Critical Studies in Mass Communication, and The Velvet Light Trap. Lynne Kirby is a doctoral candidate in Critical...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 155.
Published: 01 September 1988
...• munications and teaches in the Women's Studies Program at the University of Denver. She is particularly interested in questions of the context of inter• pretation and has published essays in such journals as Wideangle, The Velvet Light Trap, and Cinema Journal. ...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 238–239.
Published: 01 December 1982
... writing a dissertation on the “political avant-garde.” He has published in Camera Obscuva, Wide Angle, The Velvet Light Trap, Tabloid, andUndercut. His most recent film is 2963, a meditation on history and violence. Philip Rosen is the Director of Screen Studies, Clark...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 165–171.
Published: 01 May 2008
...- The Dandy Diva  •  169 ity, its performativity; it brags of its dependence on accessories. Glam rock, for instance, is explicitly defined against the “natural” androgyny of hippie culture. Velvet Goldmine’s (dir. Todd Haynes, UK/US, 1998) dandy diva is born only after the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1992) 10 (3 (30)): 141–143.
Published: 01 May 1992
... Shooting the Mother: Fetal Photography and the Politics of Disappearance. NO. 28; pp. 179-205. Stern, Lesley The Oblivious Transfer: Analyzing Blue Velvet. No. 30; pp. 77-90 Stone, Sandy The Empire Strikes Back: A Posttranssexual Manifesto. No. 29; pp...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 226–227.
Published: 01 January 1988
... University. He has published on American broadcasting and film history in publications ranging from SMPTE Journal, The Velvet Light Trap, Cinema Journal, and American Cinematographer. Nina Leibman is a doctoral candidate and a teaching fellow in the Department of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1989) 7 (2-3 (20-21)): 53–67.
Published: 01 December 1989
... Mistaken Identity in Paradise.” Continuum 1 , no. 2-3 ( 1987c ): 159 –74. Creed , Barbara . “A Journey through Blue Velvet: Film, Fantasy and the Female Spectator,” New Formations 6 ( 1988 ): 97 –117. Dermody , Susan . “Not Necessarily a Lead Dress.” Signs of Independence . Edited...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 86–97.
Published: 01 September 1980
... representation, a discourse, which claims to speak about themselves. The women also speak a desire for the dis- course, its narrative fiction: Sarah: He lays her down on the sofa. . . Beth: Which is covered in red velvet. . . Sarah: Of course. He removes her shawl from her shaking body...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 194–199.
Published: 01 May 2008
... Obscura to face his attacker with a smile full of blood. His singing voice, his most potent diva tool, can belt out a passionate “Lady Marmalade” like Patti LaBelle, but it can also be used as a weapon, like the proverbial velvet hammer. Lorne uses his upper register to disable, but not to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 146–150.
Published: 01 May 2008
... given to wearing crushed-velvet smok- ing jackets or ornate, flowing monks’ robes, and to dancing over Vincent Price and Me  •  149 rococo ballroom floors with his beautiful model-like henchwoman, Vulnavia (played by Virginia North in the original and Valli...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 179–186.
Published: 01 May 2017
... Rothman and Swartz to join him. There, she directed The Student Nurses (US, 1970) and The Velvet Vampire (US, 1971). In 1972, Rothman, Swartz, and their New World Pictures colleague Lawrence “Larry” Woolner formed the production/distribution company Dimension Pictures, where Rothman served as the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2004) 19 (3 (57)): 1–21.
Published: 01 December 2004
... in the cinema, psychoanalytic theory, television, and sexual and racial difference in film. Jonathan Rhys-Meyers as Brian Slade/Maxwell Demon in Velvet Goldmine (UK/US, 1998). Courtesy Miramax Pathos and Pathology: The Cinema of Todd Haynes Mary Ann Doane Because infinity—for the eye...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 65–91.
Published: 01 December 2014
... and the charismatically alluring but ultimately dangerous Robert. Krumbachová prepared an intriguing color palette for these two characters’ wardrobes, starting them off with outfits made from the same iridescent velvet fabric with a difficult-­ Veˇra Chytilová’s The...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 274–295.
Published: 01 September 1991
... structure, and with it, any socio-historical referentiality. Campbell’s delight in the “psychosexual kick,” represents a typical inability to examine specifics. She is correct, at first glance, I think, to understand both Wild at Heart and Blue Velvet as rehearsing anxieties about the breakdown...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2006) 21 (2 (62)): 170–176.
Published: 01 September 2006
... involves recognizing the complexity and flexibility of the close textual and psychoanalytic work associated with journals such as Camera Obscura, Jump Cut, Screen, and Velvet Light Trap. The need to historicize feminist schol- arship and the context in which it was produced feels particularly...