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Journal Article
Camera Obscura (2007) 22 (1 (64)): 197–208.
Published: 01 May 2007
... and 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...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
...
(US, 1982).
The Face Is a Politics:
A Close-Up View
of Julie Dash’s Illusions
Nick Davis
Julie Dash’s Illusions (US, 1982) ranks among the best-known films
produced by the LA Rebellion, a loose coterie of African American
and African diasporic filmmakers who...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 131–136.
Published: 01 September 1977
...Constance Penley What Maisie Knew by Babette Mangolte
CHILDHOOD AS POINT-OF-VIEW
Babette Mangolte describes What Maisie Knew as 'a film made around
the subjective camera, the vision of a child, and a re-reading of the Henry
]ames novel.' Immediately one can see...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 50–66.
Published: 01 September 1977
...Thierry Kuntzel; Bertrand Augst
Le Defilement:
A View In Close Up
Thierry Kuntzel
FILM: 'Strip offilm used in a movie camera', 'film projected in a movie
theater. '1 It is the relationship between these two films which will be
discussed here on the basis of problems raised...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 87–113.
Published: 01 December 2022
... of the Anthropocene. In the process, what is erased is also the memory of other stories that could have been told, stories that emerge out of a history of violence against Black being—what Hortense Spillers calls “high crimes against the flesh ”—and that demand a temporality and a point of view that the cinema...
FIGURES
Image
/10.1215_02705346-9349427/3/s_cob9349427figure1.png?Expires=2147483647&Signature=ybSmPxcr9n-t1iZb4LR5~huHTv6MOD-n8FiT4GOuimtES5wE3pr0Ol-YBBeyS33u5uKt4D1tZ0rY1EC5E8wr6dd277nLmo1w~bhE-hDo9ApbNNdbsGn2o9-OENbScPv9AAbviCnqs7gR8QUtjkU5Od2DIpu8~TNDInm6QAQ5KRbJdN5yUXzmsQRBHP0vB2G4JkPce-cFBZJdObjGRD9ctRHl~jjcLV90zvDTYn-tg8GiNzxqa7-KTsU-zDf4FbYRrq9NZZ5LLb1v3drb8QAVU5tzJnBfWCPg6jC~~~EkB266VWPmwHW6~rxfCEJ5gFJjrNL3Iu-fWCPkQTpRkCgerg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Published: 01 December 2021
Figure 1. Installation view (detail) of Evidentiary Bodies , 2018, from the exhibition Barbara Hammer: In This Body , 1 June–11 August 2019, at the Wexner Center for the Arts
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Image
/10.1215_02705346-9561437/2/s_cob9561437figure2.png?Expires=2147483647&Signature=lkNGtvB4FaoyuURL7xrWC1UtRY97kTIOs6D9oczSuqWSTG7sswUPjPxgtpBahNbvWRHG7NxXv5rrkWIhUbxrE-7U-MtMum5afwg5TwoX6eO8Rmy4wp9T2dGOVXX4qgXydhGAWWNnUYcwdSFYObneSiMcQ8k5NkoPkhCnlHfgcGD7ymvplMKwPRjDTeolvs6nhqMiKRk03Wza3wSi8SWoj-fqQUZP~2e3DoFurmFfMNJKGfPNYPC20R9REu-VSaflGsBz1qj1mctxZUOjnVO0GES5Afd9L8DohtU2ylo4zwfjNchWba5zB1r0ssDmzopOxds~85MF7-TCNxdfsGCeCg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 2. Pipilotti Rist, Mutaflor , 1996, video installation. Installation view, Pipilotti Rist. Komm Schatz, wir stellen die Medien um & fangen nochmals von vorne an , Kunsthalle Krems, Austria, 2015. Photo: Lisa Rastl. © Pipilotti Rist. Courtesy of the artist, Luhring Augustine, New York
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Image
/10.1215_02705346-9561451/2/s_cob9561451figure1.png?Expires=2147483647&Signature=DfYILW8mjQq8dQKNTc0nnj6CmT~6c~8bLZL0JlbhB7HAdD0M3bc~LKDng5yoPe5ZTDCgSM2f~8xy7vgOY6TozEuqupZp7OxFnH01eg6ibMp-SwzUC7DROCqrxEs-S9zA5geI3N1BBsCIKxo3Vg8AxkX9s-CShFgafm4onrtOEEW4G9zWpJhrBWyHoMmqUCnCbV~R2GQDjsNtdA6Dc3bDv2kL8ahwfFC4KPD9e6uN0u2UIE5V42ZcHfamtDvIDTUBt-EgJXZXeskhJ1JdFXUFVjZrW7EsqasdONKpuBUjQCk9zbvvK0o9f~BusOHrq6xfEXWEbMik8tapCUzyKYRsGg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Looking for Something New: Antonioni's La notte and Specters of Femininity
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2022
Figure 1. The panoptic point of view. La notte (dir. Michelangelo Antonioni, Italy/France, 1961)
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Image
/10.1215_02705346-8838601/2/s_cob8838601figure1.png?Expires=2147483647&Signature=d7xMOzRCWMFFHBW1S1ZRSdQiyPbgNa5H0TtWKwO0qydIlEt7P1WJIHQZHvrT8G70Sh3VO7Dt0oVYcFje0eR2BpVrxxHN69aR22v5ABc80u~HxVbrsE~K5gVHCIY8895BPTBXOUOUzDYjvK3lsTNC8b3TuTKSHC8RBU8MD38WHemwzi6RMp6EWSKU1VaZcDkWgTupRmaG2dbtwmBaPbRyInC7q6pIeFVNfANL~u31Lp9NyPx1e-wr7fCH~SMm5lakx9GCjet404dlDy03sdofmOEIp0JbCID1IVDKWph6GgExRH3qG47YIxFpxH7H7~ZCx~2qOLp5mC99Hiq8HVXR6A__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Published: 01 May 2021
Figure 1. Exhibition view of Photographs get moving (potatoes and shells too) , Logan Center Gallery, Chicago, 2015
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Image
/10.1215_02705346-8838553/2/s_cob8838553figure1.png?Expires=2147483647&Signature=vY86yQTOiJWSJkTPu~6iAmExsihBVPwsaNwc0PAzyb0ruvH3QezioXZ6Zl5UGVS458p7mE4sLBLL83XxLPFDyYwJKYquFeK2z1V~cKuq13jtCVtdjWaq2wwSJNMpmeuRs05tmQ-t4djhm1~SHcpBCCelCeqdcK-ppp0eTSQ08nR-~7Cnr6XrqHl8PeMmPpeWcpAMEPYur6vkRychpyE4W1y9-WsF3OWpkHd-ooBLMQgi6ERYS7iHSpz8iH9L0dlLAcTqn-OccZ8lUII~ylhZlVLINmG2kAqMbhll2U4YG50aQoXQDJIzlWckaH9hWVe3qV~X45kYomESZB2aBzeXng__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Passion, Commitment, Compassion: Les Justes au Panthéon by Agnès Varda
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 1. Installation view of Les Justes au Panthéon ( The Righteous at the Pantheon , France, 2007)
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Journal Article
Camera Obscura (1981) 3 (1 (7)): 144–150.
Published: 01 May 1981
...Rosi Braidotti; Jane Weinstock Book Review
New French Feminisms:
Some Points Re-viewed
Rosi Braidotti andJane Weinstock
The text which follows is part of a larger, polyvocal response (forth-
coming in the Australian feminist journal, Hecute) to New French
Feminisms’ call...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 65–91.
Published: 01 May 2016
... of subjectivity, collectivity, and desire. I argue that Surrogates exemplifies the view of technology as prosthetic enhancement, foregrounding technology-induced psychic exhaustion and libidinal depletion of the social body (the networked body)—a view that results in the call to restore human collectivity through...
Journal Article
Slaves of the House and Victims of Love: New Life and Relationship Challenges in Dwelling Narrowness
Camera Obscura (2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
..., in order to give voice to mainstream culture's worries about interpersonal economic relationships and to protect dominant values regarding love and sex, Dwelling Narrowness ultimately punished those of its protagonists who challenged conventional views on the family. Therefore, despite all the controversy...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 83–111.
Published: 01 May 2018
...Niels Niessen Rosetta (dir. Jean-Pierre and Luc Dardenne, France/Belgium, 1999) teases the viewer into a spiritual mind game. At first viewing, the film appears to be about a young woman’s quest for a job. On very close analysis, though, Rosetta turns out to be encrypted with the holy spirit...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 163–183.
Published: 01 May 2019
... by the participants in the symposium condense their contributions, their thoughts, and the sometimes contradictory positions that surfaced after the viewing of Akerman’s films. Films served as spaces of resistance, reconsidering the boundaries of history and presence, of fiction and document, and of biography...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
... of Arnait builds on the strategies deployed by the well-known Nunavut-based video and film collective Isuma and also radically departs from it by including women in key production roles. In doing so, Arnait foregrounds women's stories and perspectives from an Inuit point of view and thereby counteracts...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 93–119.
Published: 01 December 2017
.... In contradistinction to popular readings that view Yunioshi as a regrettable mark on an otherwise untainted film, the essay shows how the character of Yunioshi served not merely as a comedic stereotype but as a technology of race, sexuality, and gender that helped mediate the problems the producers encountered...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 59–79.
Published: 01 May 2014
... studios, and, most important, as a young director articulating a position of youth in a cultural milieu traditionally dominated by an older generation's point of view. Her work and profile as a director thus offer a specifically gendered and generational dimension to the geopolitical movements...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 167–173.
Published: 01 September 2016
... and differentiation. The theoretical site of this movement is the monad. The world is composed of an infinite field of monads, and every monad in turn contains the entire world. This paradox is resolved through metaphors of perception: each monad possesses an embodied optics, a zone of darkness and a view...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
... Boy , the male hero walks out of the Chosun Government-General Building and passes the camera. On-screen, as the hero exits from view, the colonial building gradually looms large behind him—beautifully reconstructed in the center of the city, with its iconic aura fully retrieved. At this moment...
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