...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...

... understand the historical and contextual significance of these questions, I situate Benglis' video at the intersection of three visual histories in the US: that of early video art, seventies feminist art, and mass culture pornography. Although Benglis is primarily a sculptor, she turned increasingly to video...

... engages in collective media production from Inuit women's perspectives with an explicit focus on gender. Arnait's video art, animation, fiction features, television programs, and documentaries address issues faced by women struggling for the recognition of indigenous and minoritarian cultures. The success...

... book manuscript entitled “Documentary’s Expanded Fields: New Media, New Platforms, and the Documentary.” Okin Collective contemporary Korean art video art performance collectivity © 2016 by Camera Obscura 2016 Jihoon Kim is an assistant professor of cinema and media studies at...

... terms. Two pieces of fan video art, “Unnatural Selection” and “Battlestar Redactica,” clarify Battlestar 's complicity in eugenic violence and history, while offering alternative solutions to the moral and narrative impasses of the series. By refusing the genetic stasis Battlestar proposes, these fan...

...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...

... thresholds between body and mind, self and other, nature and culture. Figure 1. Nina Sobell, EEG: Video Telemetry Environment (also known as Brainwave Drawings, 1975), installation at the Contemporary Arts Museum, Houston. Courtesy of Nina Sobell Reflecting on the performative and interactive coordinates of...

..., women and art; video and cinema, video and televi- sion, video and art; women and the Arab world, artists and the Arab world, Arab artists and the West; video and self-expression, video and politics, art and politics. My task became to press each of these conjunctions to see which yielded the most...

... American women videomakers. A landmark annual event founded by Steina Vasulka in 1972 to address the dearth of work by women in a video art show she had organized at the Kitchen Center for Video and Music in New York earlier that year, the festival was coordinated for the duration of its run by...

... granted in the art world. Never- theless, these installations are still shown only here and there, apart from other works in the museum or gallery, or are accepted in small quantities at video festivals whose main emphasis is on a selection of tapes, and where they are excluded from...

... women’s video collective in Canada, the primary record of this work — the videos themselves — is rapidly disintegrating and, with it, a piece of the intersecting histories of Canadian broadcasting, media art, and Second-­Wave Feminist Video Collectives in Canada  • 7 the...

... action both on the streets and within domestic spaces in the form of consciousness-­raising groups. It is significant that, unlike in the US, video art did not arrive in France until the late 1970s, since video technology was taken up principally by activist groups that explicitly used video...

... Politics , she is currently working on a new feature film about the women's art movement at the center of the debates about art and politics in New York in the 1970s. A R C H I V E F O R T H E F U T U R E Feminism and Video: A View from the Village Joan...

... made, straight- to- video lms that are viewed in video parlors, ad hoc social spaces, and private homes. Unlike African celluloid lms, which are typically screened at international art theaters and are not often seen by African viewers, video- lms are sold on the streets of most Anglophone...

... imprisonment. Are there alternatives to restaging victimhood in prison, documentary, and similar theaters of punishment? As a feminist documentary scholar and video maker, I felt this as an overriding concern in producing the activist art video RELEASED. Given that female inmates of American...

...-person shooter race simulation video games Figure 1. An image of Booker DeWitt dominates the cover art of BioShock Infinite (2K Games, 2013). Race and the First-Person­ Shooter: Challenging the Video Gamer in BioShock Infinite Diana Adesola Mafe It is a bright...

... of this emerging art form. Notes 1. Several academic definitions of “survival horror,” an established video-game genre, are available. One of the most recent defines the genre as including games in which “the player controls a 180  •  Camera Obscura character who has...

...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...

... to video (as to performance, photography and installation art also emerging in the s) allowed women and others — until then marginalized by the mainstream — to have an equal voice. Through these new genres they could proclaim a place for themselves in the art world that could not be...

.... Jemima Wyman, Combat Drag, 2008, 8 minutes, video (production still) IN PRACTICE: OPACITIES “The Criticality of Activism Needs to Be Applied to Art”: A Conversation with Jemima Wyman Jasmina Tumbas Almost three decades ago, the notorious anarchist...