...Barbara London Copyright © 1991 by The Johns Hopkins University Press 1990 Video Letter by Shuntaro Tanikawa and Shuji Terayama An Introduction Barbara London Recognized as two of Japan’s preeminent poets, Shuntaro Tanikawa and Shuji Terayama have consistently explored new...

...Shuntaro Tanikawa; Shuji Terayama; Akiko Iimura; Barbara London Copyright © 1991 by The Johns Hopkins University Press 1990 Video Letter Shuntaro Tanikawa and Shuji Terayama Vol. 1. Tanikawa to Terayama The tape opens to the sound of a music box being wound. The tune...

...Ros Murray This article assesses the impact and import of 1970s French feminist video collectives, focusing on the relationship between technology, subjectivity, and embodiment. It investigates how early portable video technology provided the tools for an exploration of subjectivity as collective...

... Chinese Great Famine Figure 1. Zhang Mengqi, the filmmaker, scans her own face into a “selfie” inSelf- ­Portrait with Three Women (China, 2010). © Zhang Mengqi/Caochangdi Workstation IN PRACTICE Memory Resurrected in HD: Collective Digital Video...

...Bonnie Ruberg In this interview, Temple University assistant professor of media studies and production Adrienne Shaw discusses her work creating the LGBTQ Video Game Archive. Today, the dynamic interplay between queerness and video games provides scholars with an emerging area of exploration. The...

...Ann Barry Flood Copyright © 1992 by Indiana University Press 1992 Breast Cancer: Adjuvant Therapy, Dartmouth Interactive Laboratory’s Shared Decision-making Program (1992) Empowering Patients: Using Interactive Video Programs To Help Patients Make...

...Anne-Marie Duguet; Jean Andrews Copyright © 1985 by Camera Obscura 1985 Nostos II (Thietry Kuntzel, 1984) The Luminous Image: Video Installation StedeZth Museum, Amsterdam (1 4 September-28 October 1984) Ame-Mane Dzlgzlet Although most video artists have produced...

...Denise Mann © 1984 by Camera Obscura 1984 Modem Sexuahty (1979) Staggering Toward Modern Times: The Video Art of Max Almy DeniJe Man n Max Almy’s video art moves from the highly personal, low-tech, black and white multi-monitor performance piece to that of the multi-layered...

...Melinda Barlow Camera Obscura 2003 Editor’s Note on “Dossier on Women and Video: Histories and Practices” In North America, video and feminism have shared a history since the heady 1970s. There seems to be an almost “organic rela- tionship,” in contributor Laura Marks’s phrase...

... and Performance (Johns Hopkins University Press, 2002), and the author of Lost Objects of Desire: Video Installation, Mary Lucier, and the Romance of History (forthcoming from the University of Minnesota Press). Christine Noschese (left) and Susan Milano (right), circa 1973. Photograph by Ann...

... a fellow of the Center for Behavioral Research at the American University of Beirut. Still from Hadel Nazmy’s open studio project, “Personal Diary in Desolate Town,” at Cairo’s Townhouse Gallery in 2002. Courtesy Hadel Nazmy What Is That and between Arab Women and Video? The...

... Practice (forthcoming). She has produced over fifteen activist videos, including the feature documentaries Dear Gabe and Women of Vision and the feature film The Watermelon Woman . Video animation still by Joe Saito from RELEASED: Five Short Videos about Women and Prison (2000) No Woman Is an...

...Joan Braderman Camera Obscura 2007 Joan Braderman , a video artist and professor of video, film, and media studies, holds a BA from Harvard and an MA and MPhil from New York University. Her award-winning videos (such as Joan Does Dynasty [1986] and Joan Sees Stars [1992]) have been...

...Susan Richmond A video produced by Lynda Benglis in 1973, Female Sensibility features the artist in a lesbian liaison with her friend and colleague, Marilyn Lenkowsky. This essay suggests that aspects of the video's content indicate that the artist intended this liaison to be an ironic enactment of...

...Ewan Kirkland This article explores construction and representation of masculinity in the “survival horror” video-game series Silent Hill . Noting the dominance of traditional male characters and masculine themes within the video-game medium, the Silent Hill franchise is seen as deviating from this...

...Kristina Busse; Alexis Lothian Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation of and...

...Lindsey Green-Simms This essay examines the aesthetic dimensions of the “occult melodramas” of West African video-films by discussing how filmmakers use the technology of video to recreate the sensuous impact of daily rumors that speak to spiritual and socioeconomic anxieties. Given that these...

...Diana Adesola Mafe This article argues that the 2013 first-person shooter (FPS) video game BioShock Infinite (2K Games) challenges gamers in its representations of race. Launched in 2007, the BioShock franchise has a reputation for thoughtful dystopian narratives, beautiful retro worlds, and...

.... A longtime media activist, she cofounded Emma Productions, a feminist media collective, in the 1980s. She is the writer/director/codirector of ten films and videos, including, most recently, This Is Gay Propaganda: LGBT Rights and the War in Ukraine (Canada, 2015). © 2016 by Camera Obscura...

...Jihoon Kim This article examines a series of video works by Okin Collective, a group of three Korean artists (Jin Shiu, Kim Hwayong, and Yi Joungmin) who have over the past few years been productively concerned with an array of political, social, and cultural issues from both local and global...