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Journal Article
Camera Obscura (2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
... Woolf's modernist “moment of being”; the performativity of gender and kinship (Judith Butler, Eve Kosofsky Sedgwick); and theories of queer time and affect (Judith Halberstam, Elizabeth Freeman, Lauren Berlant). These readings probe The Hours 's return to mediated cultural ideals of white conjugal...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 105–145.
Published: 01 May 2006
..., Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense . . . before Big Ben strikes. There! Out it boomed. First a warning, musical; then the hour, irrevocable. —Virginia Woolf, Mrs. Dalloway As a motif throughout Virginia Woolf’s novel Mrs. Dalloway...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 64–87.
Published: 01 September 1990
...,” as Virginia Woolf puts it,15 available? C’est toujours a l’imparfait de l’objectif Que tu conjugues le verbe photographier Jacques PriverP The adequate sentence is not to be found...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... and the Soup: Historicizing Media Feminisms in Transnational Contexts Kathleen McHugh As a woman I have no country; as a woman, I want no country; as a woman my country is the whole world.  — Virginia Woolf, Three Guineas Here was the soup. It was a plain gravy soup. . . . One could...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 28–39.
Published: 01 December 1989
... Culturale Virginia Woolf, 1984 . Grignaffini , Giovanna . “La foto del sogno.” Lapis 1 (November 1987 ). Liehm , Mira . Passion and Defiance: Film in Italy from 1942 to the Present . Berkeley: University of California Press, 1984 . Magli , Patrizia . Corpo e linguaggio . Rome...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 73–117.
Published: 01 September 2005
Journal Article
Camera Obscura (2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
... Woolf ’s observation about women’s books that they “continue each other, in spite of our habit of judging them separately.”7 Reichardt greatly admires the French director’s work and particularly the autonomous conditions under which she produces her projects.8 While Denis is certainly...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 248–252.
Published: 01 December 1989
... questions which we experience in everyday life without look- ing for them. I also think Virginia Woolf wasn’t speaking in metaphors when she wrote about food for thought in A Room of One’s Own. School of Cinema-Television...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 177–211.
Published: 01 December 2003
... may “address the spectator as female” (132), and may thus result in—different—possibilities of female agency. Politics In the West, Sally Potter’s Orlando, the reworking of Virginia Woolf’s classic novel, was a relative box office success and a sig- nificant event for feminist film studies.17...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 186–221.
Published: 01 May 1995
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... circulation in the contemporary global terrain of film festivals and criticism. In a recent essay, Kathleen McHugh provides an instructive point of departure for considering women filmmakers and trans- national paradigms, drawing on Virginia Woolf’s proclamation: “As a woman I have no country...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 246–248.
Published: 01 December 1989
... questions which we experience in everyday life without look- ing for them. I also think Virginia Woolf wasn’t speaking in metaphors when she wrote about food for thought in A Room of One’s Own. School of Cinema-Television...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 119–163.
Published: 01 September 2005
Journal Article
Camera Obscura (2008) 23 (1 (67)): 1–9.
Published: 01 May 2008
... Hall, Una Troubridge, Noël Cow- ard, Marlene Dietrich, Mick Jagger, David Bowie, Joan Jett, Andy Warhol, and fictional characters like Dorian Gray, Orlando (from 6  •  Camera Obscura Virginia Woolf’s novel), and Jack Fairy (in the filmThe Velvet Gold- mine). In Fontenot’s account, becoming...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 235–241.
Published: 01 December 1989
... like audience or spectator or viewer cover up, smoothing over social, historical, racial, chronological, ec- onomic, cultural and sexual differences. I rather like the thought of being a spectatrix, affected as it may seem at first. As Virginia Woolf, older and angrier...
Journal Article
Camera Obscura (1993) 11 (1 (31)): 26–47.
Published: 01 May 1993
... Upstairs, Downstairs because Galsworthy, unlike his modernist con- temporaries T.S. Eliot, Ezra Pound, and Virginia Woolf, held fast to the traditions of nineteenth-century realism and turned his back, so to speak, on the innovations of experimental literature. So persuasive...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 1–45.
Published: 01 September 2004
... the illumination of other people’s eyes, and therefore cannot be entirely sure what is my self.” —Bernard from Virginia Woolf’s The Waves In 1992–93, an exhibition titled Visualising Masculinities was featured at the Tate Gallery in London. The declared aim of the exhibition was to examine “the display...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
... for us to state the simple fact; Orlando was a man till the age of thirty; when he became a woman and has remained so ever since.  — Virginia Woolf, Orlando Camera Obscura turns thirty in 2006. The editors eschewed, or neglected, marking twenty-five, a somewhat unformed age, in favor...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
.... This is, after all, a quarter century into the birth of artistic and literary modernism, a birth that made much of its attractions to so-called African imports. When Virginia Woolf made the unequivocal claim that “in or about December, 1910, human character changed,” she tied this sea change directly...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 132–145.
Published: 01 September 1983
... World in Five Episodes}, 126 min., 35mm, color; distributor: Basis Film Verleih. As the subtitle indicates, this film takes up the metaphor of the world as a stage, a favorite literary form since the Baroque for formulating social criticism. Inspired by Goya's drawings and Virginia Woolfs...