...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...

...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...

...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...

...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...

...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...

...Cristina Albu Through her versatile use of video technology, Nina Sobell explores nonverbal means of communication that interfere with normative modes of behavior and closely regulated interpersonal relationships. Deeply informed by the pursuit of intimate connections, her practice fosters...

...Liam Mitchell Female figures routinely appear in popular fiction as ostensibly critical correctives to masculinity who can inadvertently retrench problematic divisions between “Woman” and “Man.” In video games, these figures are often aural rather than visual; whether they are off-screen narrators...

...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...

... historical forms of media activism and current digital platforms for feminist activism. Figure 1. Jennifer Gilmour, left, and Marusya Bociurkiw, right, of Emma Productions, 1985 Big Affect: The Ephemeral Archive of Second-Wave­ Feminist Video Collectives in Canada...

...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...

...Scott MacKenzie; Anna Westerståhl Stenport Arnait Video Productions is one of the most aesthetically diverse feminist collectives in the world. Founded in 1991 in Igloolik, Nunavut, Canada, by Madeline Piujuq Ivalu and Marie-Hélène Cousineau as the first women's Inuit filmmaking collective, Arnait...

...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...

...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...

... the 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...

...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 Eugenia...