Search Results for world
1-20 of 658 Search Results for
Camera Obscura (1992) 10 (2 (29)): 91-129.
Published: 01 May 1992
...Stacie Colwell Copyright © 1992 by Indiana University Press 1992 The End ofthe Road: Gender, the Dissemination of Knowledge, and the American Campaign Against Venereal Disease during World War I Stacie Colwell “Two roads there are in life,” states the prologue to the 1918...
Camera Obscura (1996) 13 (1 (37)): 187-237.
Published: 01 January 1996
...William Anthony Nericcio Copyright © 1996 by Indiana University Press 1996 Autopsy of a Rat: Odd, Sundry Parables of Freddy Lopez, Speedy Gonzales, and Other Chicano/Latino Marionettes Prancing About Our First World Visual Emporium...
Camera Obscura (1991) 9 (1-2 (25-26)): 125-143.
Published: 01 September 1991
...Alexander Doty Copyright © 1991 by The Johns Hopkins University Press 1991 The Sissy Boy, The Fat Ladies, and The Dykes: Queerness and/as Gender in Pee-wee’s World Alexander Doty In all the things I’ve read or heard about Pee-wee Herman, his shows, and his films, only two...
Camera Obscura (2017) 32 (2 (95)): 185-192.
Published: 01 September 2017
...Claudia Lo Amid the ongoing popularity of hundred-hour, epic-length stories or never-ending, procedurally generated games, where is the place for short games with defined endings? Anna Anthropy's Queers in Love at the End of the World (2013) rejects the importance of having a lengthy game and flips...
Camera Obscura (2002) 17 (2 (50)): 1-39.
Published: 01 September 2002
... Audiovisual Discourse of World Health” for publication. Contagion and the Boundaries of the Visible: The Cinema of World Health Kirsten Ostherr World Health and the Dialectics of Visibility and Invisibility Even a cursory glance at contemporary US ﬁlm and television reveals a...
Camera Obscura (2008) 23 (2 (68)): 1-39.
Published: 01 September 2008
... with Brad Epps. Coincidence and chance: Benigno (Javier Cámara) sees Marco (Darío Grandinetti) in tears during the performance of Café Müller. © Miguel Bracho/El Deseo. Photo: Miguel Bracho World without Strangers: The Poetics of Coincidence in Pedro Almodóvar’s Talk to Her...
Camera Obscura (2009) 24 (3 (72)): 111-151.
Published: 01 December 2009
... that impact. Histories of cinema generally fall within several dominant paradigms: world cinema; Hollywood or industrial cinema; and cinemas in contradistinction to the Hollywood industrial model—national art-film movements and avant-gardes resistant to the industrial paradigm and its influence. Though...
Camera Obscura (1999) 14 (3 (42)): 50-69.
Published: 01 September 1999
...Gayle Wald Copyright © 1999 by Indiana University Press 1999 Clueless in the Neocolonial World Order Gayle Wald Seldom has a contemporary US "teen flick" risen to the levels of both critical and commercial popularity attained by Amy Heckering's 1995 film Clueless, an...
Camera Obscura (2004) 19 (1 (55)): 113-149.
Published: 01 May 2004
... on Bernardo Bertolucci, Joseph Conrad, and Paul Bowles, and coedits Bryn Mawr Review of Comparative Literature . American Beauty’s insistence that what the Colonel and ﬁlm viewers see barely conceals our identiﬁcations, repressions, and aggressions. Envisioning the (W)hole World “Behind...
Camera Obscura (2014) 29 (1 (85)): 5-31.
Published: 01 May 2014
... focuses on three films: Brothers ( Brødre , 2004), After the Wedding ( Efter brylluppet , 2006), and In a Better World ( Hævnen , 2010). Concerned with addressing a local and transnational audience, these films depict the intimacy of the Danish nuclear family while also developing distinctly transnational...
Camera Obscura (2014) 29 (1 (85)): 81-109.
Published: 01 May 2014
... postcolonial subjectivity of being caught between two worlds in her documentary and short fiction films, including River of No Return (2008), Gulpilil: One Red Blood (2002), Crocodile Dreaming (2006), and Two Bob Mermaid (1996). It argues that these films offer unique insights into the history of Indigenous...
Camera Obscura (2016) 31 (2 (92)): 167-173.
Published: 01 September 2016
... 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 on the...
Camera Obscura (2010) 25 (2 (74)): 119-159.
Published: 01 September 2010
...Jennifer Peterson A growing body of scholarly work has focused on the role of cities—and, to a lesser degree, the suburbs—in post–World War II American film. Less attention has been paid to rural and wilderness locations, but, in fact, they played an important role in the melodramas of the period...
Camera Obscura (2010) 25 (2 (74)): 161-171.
Published: 01 September 2010
...Michael T. Martin While slavery is distinctive in human history, its enduring legacy and practices in the modern world are manifest in the “disposable” labor that provisions the brothels, sweatshops, and agricultural plantations in the global economy. This interview with filmmaker Amy Serrano...
Camera Obscura (2012) 27 (2 (80)): 25-59.
Published: 01 September 2012
... films are both recognizable to and somewhat outside world cinema categories, I suggest ways of reading the spectral affects of the films that account for the complex, conflicting forms of spirituality, eroticism, and transgression that make them so popular with their audiences. This type of a reading...
Camera Obscura (2012) 27 (3 (81)): 169-179.
Published: 01 December 2012
..., as no other event has, that there are different bourgeoisies and different undergrounds and they can clash in many ways. Just as we still live with the heritage of May 1968 in Paris, in the experimental film world so too we still live with the aftermath of EXPRMNTL 4 in 1967 in the small town of...
Camera Obscura (2013) 28 (1 (82)): 103-123.
Published: 01 May 2013
...Alexander R. Galloway Rey Chow, in her book The Age of the World Target , identifies a rise in self-referentiality across a number of domains of contemporary life. Fueled by Martin Heidegger's writings on “the world picture,” Chow asserts that “understanding … is now an act inseparable from the act...
Camera Obscura (2015) 30 (2 (89)): 89-123.
Published: 01 September 2015
...Diana Adesola Mafe This article argues that the 2013 first-person shooter (FPS) video game BioShock Infinite (2K Games) challenges gamers in its representations of race. Launched in 2007, the BioShock franchise has a reputation for thoughtful dystopian narratives, beautiful retro worlds, and...
Camera Obscura (2015) 30 (3 (90)): 93-127.
Published: 01 December 2015
... rendered by montage or whip pans. The Snake Pit and Sorry, Wrong Number , like other films of the 1940s centered on female insanity, exploit the language of cinema in order to make spectators partake in their pathologized versions of the sensory world. This restructuring of perception by mental illness has...
Camera Obscura (2014) 29 (1 (85)): 1-3.
Published: 01 May 2014
... essays in the issue explore the theme “between worlds.” In particular, the theme offers a cue for authors to consider how, given the mutable cultural terrain of the twenty-first century, the work of female directors might be negotiating different, perhaps even disjunctive, worlds. In-betweenness...