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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...
FIGURES
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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...
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