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Journal Article
Camera Obscura (1999) 14 (3 (42)): 30–49.
Published: 01 September 1999
...Rey Chow Copyright © 1999 by Indiana University Press 1999 Nostalgia of the New Wave: Structure In Wong Kar-wai's Happy Together Rey Chow In one of the earliest discussions of poststrueturalism to appear in English, "Of Structure as an Inmixing of an Otherness...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 159–191.
Published: 01 December 2005
... Review of Film and Video, Intersections: Gender, History and Culture in the Asian Context , and Film Quarterly . Wong’s dragon lady costume was condemned by Chinese nationalists and raved about in American publicity writings. The Art of Screen Passing: Anna May Wong’s Yellow Yellowface...
Journal Article
Camera Obscura (1996) 13 (3 (39)): 104–125.
Published: 01 September 1996
... culture has become famous for its production of muscular bodies-from Bruce Lee, through the kung fu comics, to Jackie Chan. John Woo's tightly choreographed gunfight sequences are a sheer deployment of virile bodies. In the movies of Tsui Hark and Wong Kar-wai...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 37–61.
Published: 01 December 2006
... problems. I decided that if I had the chance, I would link Wong Fei-Hung [the protagonist in the Once upon a Time in China series] with every incident in the modern history of China. That’s why when it was time to decide the English title for the film, I thought, why don’t we call it Once upon...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
... representations of Orientalist ide- ology. The star discourses of Anna May Wong and Tsuru Aoki, discussed here by Yiman Wang and Sara Ross, respectively, indi- cate how competing notions of sexuality and femininity were pro- jected onto these actresses. Across the spectrum of the American, European...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
... magazines. The primacy of female performers is also written on the sound tracks of this time when, to use an oft-cited phrase from the popular music historian Wong Kee-chee, the idea of “no film without a song” became something of an industry watchword.6 Film songs were a ubiquitous feature...
Journal Article
Camera Obscura (1999) 14 (3 (42)): 163–164.
Published: 01 September 1999
... Invasion Themes in Vampire Narratives. No. 40-41; pp. 181-200. Chow, Rey Nostalgia in the New Wave: Structure in Wong Kar-wai's Happy Together. No. 42; pp. 31-50. Dean, Jodi The Truth is Out There: Aliens and the Fugitivity of Postmodern Truth. No. 40-41; pp. 43-76. DiPiero, Thomas...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 171–178.
Published: 01 December 2007
... print of Marion E. Wong’s The Curse of the Quon Dong (US, 1917) were found to be held by her family, although all that had previously been known of her Mandarin Motion Picture Company in Oakland, California, was from a Moving Picture World blurb written in 1917.4 Still elusive is a section...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 141–166.
Published: 01 September 2008
... context . . . in which the movement of queer images across national borders facilitates the creation of a public world of belonging,” a point Marc Siegel makes in his astute reading of the imagery of gay “sexual ghetto” spaces in Happy Together (Chunguang zhaxie, dir. Wong Kar- wai, Hong Kong...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 129–157.
Published: 01 December 2005
..., that are interesting” (Said, Orientalism, 41, 58). The sensuality most associated with the Near East could thus be extended to the Far East and to Japanese and Chinese characters. Anna May Wong’s role in Picadilly (dir. E. A. Dupont, US, 1929) — discussed further in this volume by Yiman...
Journal Article
Camera Obscura (2006) 21 (2 (62)): 108–143.
Published: 01 September 2006
..., the canon of global postmodern films such as those by Quentin Tarantino, David Lynch, or Wong Kar-Wai has not offered simi- larly expansive, euphoric endings. In Tykwer’s films, film time is dominated by the struggles of (generally female) figures within the restraints of oppressive and limiting...
Journal Article
Camera Obscura (2017) 32 (3 (96)): 93–119.
Published: 01 December 2017
..., 1958), a comedy starring Jerry Lewis as a magician who befriends a Japanese war orphan; The World of Suzie Wong (dir. Richard Quine, US/UK, 1960), a romance about a white American man who falls in love with a Chinese prostitute in Hong Kong; and My Geisha (dir. Jack Cardiff, US, 1962...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
..., startling way to understand this line is that it tropes birth itself as an act or technology of migration and naturalization. Indeed, the legitimation of birthright citizenship consti- tutes a significant chapter in Asian American history. InUnited States v. Wong Kim Ark (1898), the Supreme...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 171–179.
Published: 01 September 2020
...- investigation. 4. Nitasha Tiku, Why Tech Leadership May Have a Bigger Race Than Gender Problem, Wired, 3 October 2017, www.wired.com /story/tech- leadership- race- problem/; Julia Wong, Segregated Valley: The Ugly Truth about Google and Diversity in Tech, Guardian, 7 August 2017, www.theguardian.com...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 155–185.
Published: 01 May 2021
... described by Cindy Hing-Yuk Wong and other festival scholars as a filmmaker whose auteur status has been developed and maintained by major festivals throughout her career. 6 While many of Varda's films screened at notable festivals around the world, Visages Villages experienced an especially impressive...
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Journal Article
Camera Obscura (2005) 20 (1 (58)): 59–105.
Published: 01 May 2005
... sexuality ambiguous. Of course, given the central role of musical theater icons in Oz (such as Elaine Stritch, Betty Buckley, Rita Moreno, Charles Busch, Joel Grey, and Patti Lupone, not to mention M. Butterfly’s queer diva B. D. Wong), the appearance of Taormino’s much- desired queer climax...
Journal Article
Camera Obscura (2004) 19 (1 (55)): 151–179.
Published: 01 May 2004
... with him, while the other two make out with each other for his voyeuris- tic benefit. This flagrant display of a hypersexualized yellow mas- culinity infuriates the black bouncers, and racial violence is about to erupt when Po’s bodyguard, Kai (Russell Wong), arrives on the scene with his henchmen...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 75–102.
Published: 01 May 1997
...” of paranoia and cynicism are never empty for viewers of The X-Files because to maintain our psychological balance or “normalcy’’ we must give in to a dynamic instability in which neither “alternative” can be rejected. In “EBE” (18 February 1994), co-authored by James Wong...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 1–37.
Published: 01 May 2011
... after a Long Night at Madame Wong’s (An Homage)” (2010). Courtesy Fiona I. B. Ngô Blog Ambition: Fashion, Feelings, and the Political Economy of the Digital Raced Body Minh-­Ha T. Pham In 2007, the Pulitzer Prize–winning fashion writer and former blogger Robin Givhan praised...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
.... The problem of film (its visual language) becomes a problem in film, whether it is a rhetoric of indecent adornment that performs the work of exclusion (say, the intense production design of Wong Kar-wai’s In the Mood for Love [Fa yeung nin wa, Hong Kong/France, 2000]) or, even, as in Stella Dallas...