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in Art on Film at Finch College: Reproductive Labor in the Enrichment Economy
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2023
Figure 2. Homage to Jean Tinguely's Homage to New York (dir. Robert Breer, US, 1960).
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Journal Article
Camera Obscura (2003) 18 (3 (54)): 3–38.
Published: 01 December 2003
... Volkes
Feminism 101:
The New York Women’s Video
Festival, 1972–1980
Melinda Barlow
From 1972 to 1980, the New York Women’s Video Festival was the
primary showcase for work by American women videomakers. A
landmark annual event founded by Steina Vasulka in 1972 to
address the dearth...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 27–63.
Published: 01 May 2016
...Marc Francis This article examines a series of recent films that seeks to represent the often conflated categories of asexuality and singlehood. The films (A)sexual (dir. Angela Tucker, US, 2011), Year of the Dog (dir. Mike White, US, 2007), and Bill Cunningham New York (dir. Richard Press, US...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 31–57.
Published: 01 May 2019
...Janet Bergstrom For this interview, cinematographer, photographer, and filmmaker Babette Mangolte agreed to focus on her collaborations as cinematographer with Belgian filmmaker Chantal Akerman on her 1970s New York films. Besides Jonas Mekas and Anthology Film Archives, Mangolte brought in the art...
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Published: 01 September 2021
Figure 3. Fantastic Architecture , edited by Dick Higgins and Wolf Vostell (New York: Something Else Press, 1970). Front cover: Richard Hamilton, Guggenheim Collage , 1967
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Published: 01 September 2021
Figure 5. Meat Joy (1964). Judson Memorial Church, New York. Photograph by Al Giese
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Published: 01 September 2021
Figure 9. Water Light/Water Needle (1966). St. Mark's Church in-the-Bowery, New York. Photograph by John Weber
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Journal Article
Camera Obscura (1988) 6 (1 (16)): 191–202.
Published: 01 January 1988
...Dana Polan Copyright © 1988 by The Johns Hopkins University Press 1988 ij I
Complexity and Contradiction in Mass-Culture
Analysis: On len Ang's Watching Dallas
(New York: Methuen, 1985)
Dana Polan
There seem to be two very different books in len Ang's...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
...Jane Weinstock Copyright © 1989 by The Johns Hopkins University Press 1989 Women on the Verge of a Nervous Breakdown (Pedro Almodovar, 1988)
Out of Her Mind: Fantasies of the 26th
New York Film Festival
by Jane Weinstock
You could say it was the Year of the Other at the New...
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in Glimpsing Angie Xtravaganza: The Trans Latinx Imaginary of Paris Is Burning
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2024
Figure 1. Angie chitchatting in Spanish, Union Square, New York City, Criterion Collection edition outtakes. Paris Is Burning (dir. Jennie Livingston, US, 1990)
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Journal Article
Camera Obscura (2013) 28 (1 (82)): 135–145.
Published: 01 May 2013
.... The relationship of the project to the development of feminist film studies, the production conditions for women's filmmaking in Latin America, the contemporary climate for distribution and exhibition in New York City (along with public funding structures), and the cultivation of new Latina/Latino audiences in New...
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in Schneemann Sounding: Embodied Sonic Systems
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 4. Carolee Schneemann, Snows (1967). Kinetic theater, Martinique Theater, New York. Photograph by Charlotte Victoria. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists
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in Schneemann Sounding: Embodied Sonic Systems
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 5. Carolee Schneemann, Snows (1967). Kinetic theater, Martinique Theater, New York. Photograph by Herbert Migdoll. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights
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in Schneemann Sounding: Embodied Sonic Systems
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 1. Carolee Schneemann, Chromelodeon (1963). Kinetic theater, Judson Dance Theater, New York. Photograph by Al Giese. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists
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in Schneemann Sounding: Embodied Sonic Systems
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 2. Carolee Schneemann, Chromelodeon (1963). Kinetic theater, Judson Dance Theater, New York. Photograph by Al Giese. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists
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Journal Article
Camera Obscura (2012) 27 (1 (79)): 97–125.
Published: 01 May 2012
... to vulnerable audiences, even as the same model/actress appeared, frequently in partial or fully nude poses, in public statuary throughout New York City. Purity and Munson's performance in the film provide previously uninterrogated evidence of the extensive anxiety around female nudity and the efforts...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 135–143.
Published: 01 September 2012
... organizations, these critiques often fail to consider how queer Palestinians mobilize and understand themselves. This article reports on an October 2011 panel and film screening at Yale University and the Hagop Kevorkian Center for Near Eastern Studies at New York University. “Queer/Palestinian: Critical...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... to address the under- and misrepresentation of women in film and media; today, the New York–based nonprofit supports the creation and circulation of independent film and media by and about women through its production assistance program, extensive distribution service, and advocacy role. The conversation...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 177–189.
Published: 01 September 2013
... productively deform Western conceptualizations of the aesthetic. In February 2011, Copeland interviewed Leonard about her practice and its implications for feminist approaches to vision, history, and the archive. Their conversation took place at the College Art Association annual conference in New York as part...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 63–91.
Published: 01 May 2017
...Jaime Brunton This essay analyzes The Artist Is Present , Marina Abramović's heavily mediatized 2010 performance at New York's Museum of Modern Art, through the lenses of Freudian and Deleuzian concepts of masochism. It specifically focuses on how the masochistic tendencies of this performance may...
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