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Cinema, Taliban, and Being a Woman in Today's Afghanistan: An Interview with Sahraa Karimi 当今阿富汗的电影、塔利班和女性身份:Sahraa Karimi 访谈录
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2023-12-01 DOI: 10.1215/02705346-10772645
Pinar Fontini
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引用次数: 0
Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics 通过欲望阅读边界:同性恋土著理论、北欧定居殖民主义和跨美学
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2023-12-01 DOI: 10.1215/02705346-10772589
Kata Kyrölä
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引用次数: 0
Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture 成为用户:甲骨文、芭芭拉-戈登和大众文化中的用户形象
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2023-12-01 DOI: 10.1215/02705346-10772617
Zara Dinnen
{"title":"Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture","authors":"Zara Dinnen","doi":"10.1215/02705346-10772617","DOIUrl":"https://doi.org/10.1215/02705346-10772617","url":null,"abstract":"This essay considers the figure of the “user” as an emergent subject of late twentieth-century US culture, in relation to the World Wide Web and the 1990 Americans with Disabilities Act. The user is a subject position that is historical in the sense that use relations have always determined social formations within capitalism, but it has been newly energized in contemporary modes of capitalism after digital computing, and newly weighted in contemporary renderings of the nation-state as service provider. This essay turns to a cultural moment in which a privatized user subject was coming into formation, using comic books of this moment to find the user figure and its stories. The DC Comics archive might not seem the most likely place to find answers to these concerns. But superhero origin stories are always about becoming user in late capitalist imaginaries. Superheroes learn to use their histories to reproduce the world they want. The then newly inaugurated DC Comics character Oracle, aka Barbara Gordon (formerly Batgirl), is becoming a wheelchair user and a computer user. Reading Oracle's 1990s user origin stories, this essay attends to scenes of wheelchair and computer use to work out a theory of user history and user time emerging in 1990s US culture. The comics reveal that the process of becoming user is always intersecting with the processes of becoming a racialized, gendered, classed, (dis)abled subject. They also open up the possibility for other affordances: becoming user as a process which can be torqued in its unfolding.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"186 3-4","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139188613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Their Bodies, Their Selves: Reflexivity and Embodiment in 2010s Women's Autobiographical Author-Performer TV Dramedies 她们的身体,她们的自我:2010 年代女性自传体作者-表演者电视剧中的反思与体现
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2023-12-01 DOI: 10.1215/02705346-10772603
Yael Levy
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引用次数: 0
What's Your Color? Mood Conditioning the Postwar Domestic Interior 你的颜色是什么?战后家庭室内装饰的情绪调节
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2023-12-01 DOI: 10.1215/02705346-10772575
Lida Zeitlin-Wu
{"title":"What's Your Color? Mood Conditioning the Postwar Domestic Interior","authors":"Lida Zeitlin-Wu","doi":"10.1215/02705346-10772575","DOIUrl":"https://doi.org/10.1215/02705346-10772575","url":null,"abstract":"The postwar era in the United States saw an explosion of mass-produced colors across a range of materials and technologies, as well as increased demand for professional color consultants both within and outside the home. While this period (sometimes called the color revolution) is typically viewed as catalyzing new possibilities for self-expression, this rhetoric of consumer choice in fact served to naturalize existing social hierarchies and normative modes of vision through standardized color. This article looks to the postwar American domestic interior to dissect a historical moment when color, divided into serialized paint swatches, became grid-like, quantitative, and severed from form. It examines several key shifts in the conceptualization of standardized color in the postwar period, particularly as they played into identity formation along racial, class-based, and gendered lines. Analyzing popular archival materials such as paint catalogues and women's magazines alongside the writings of the prominent color consultant Faber Birren (1900 – 1988), the article contends that it was in the midcentury domestic interior that the cultivation and commodification of personality became synonymous with technological and social advancement. Though color consultants emphasized that the home was a space for individual consumers to assert their uniqueness through color customization, this so-called freedom of choice in fact rendered gender, race, and class subject to further standardization and classification in the name of social and technological “progress.”","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"34 3","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139190532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Editorial Office Workers’ Statement Regarding the UC System-Wide Strike 编辑办公室工作人员关于加州大学全系统罢工的声明
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2023-12-01 DOI: 10.1215/02705346-10772547
Casey Coffee, Lizzy Hogenson, Kyna McClenaghan, Chelsea Kai Roesch
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引用次数: 0
Green's Clues, or What's Queer about Clue? 格林的线索》或《线索有什么古怪?
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2023-12-01 DOI: 10.1215/02705346-10772561
Gabriel Bloomfield
{"title":"Green's Clues, or What's Queer about Clue?","authors":"Gabriel Bloomfield","doi":"10.1215/02705346-10772561","DOIUrl":"https://doi.org/10.1215/02705346-10772561","url":null,"abstract":"This essay reckons with the representation of queer sexualities and modes of reading in Jonathan Lynn's Clue (US, 1985). The film, originally a box office flop that has become a cult classic, deploys the character of Mr. Green to concentrate and dispel its queer energies. Although he declares near the start that he is “a homosexual,” Green's sexuality is evacuated from the mystery narrative in a way that no other character's is. Drawing on the insights of queer theory and fan studies from Eve Kosofsky Sedgwick to Juno Jill Richards, the essay argues that Clue is structured by its anxious, phobic reaction to Green's sexuality; that it both depicts and provokes paranoid queer readings; and that the movie's future depends on the imaginative re-creations and re-queerings of the modern fan culture that has sprung up around it.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"52 3","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139195773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Self-Suspension in Frames: Hito Steyerl's Lovely Andrea 框架中的自我悬浮:希托-施泰尔的《可爱的安德烈亚
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2023-12-01 DOI: 10.1215/02705346-10772631
Lou Silhol-Macher
{"title":"Self-Suspension in Frames: Hito Steyerl's Lovely Andrea","authors":"Lou Silhol-Macher","doi":"10.1215/02705346-10772631","DOIUrl":"https://doi.org/10.1215/02705346-10772631","url":null,"abstract":"This article traces the role of frames in suspending the self in Lovely Andrea (Japan/Austria/Germany), a video essay by Hito Steyerl presented at Documenta 12 in 2007. A seldom-analyzed artwork within Steyerl's otherwise widely circulating and discussed oeuvre, Lovely Andrea has itself been framed as belonging to the genre of the self-portrait, although it certainly isn't straightforwardly autobiographical. In fact, Lovely Andrea calls into question the very notions of “self” and “portrait” by interrogating the conditions of possibility for each, as well as for the combination of the two — the “self-portrait.” This article examines how this tension specifically takes shape in this video essay and argues that Lovely Andrea redefines the filmic genre of the self-portrait by way of detours, undoing frames of identification via a medium that so fundamentally relies on them, and, beyond, undoing a certain idea of self — as a notion and as a practice. Indeed, Lovely Andrea proposes a Hegelian-inspired dialectics of selfhood and medium: suspending, undoing, dissolving these notions in telescopic scenes of framing. Moving across frames to discuss their specific function at various points in the film, this article pairs close analyses with a discussion of Steyerl's own references to philosophy (Hegel) and film theory (Harun Farocki) within and peripherally to Lovely Andrea, demonstrating how the bondage practice of self-suspension so central to this film performs a dialectical coming undone in frames.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" 16","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139196112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Nonmaterial Overelaboration: Gender, Casting, and Camouflaged Labor in Pat Rocco's Promotional Travelogue 非物质的过度阐述:帕特·罗科的宣传游记中的性别、选角和伪装劳动
3区 艺术学
CAMERA OBSCURA Pub Date : 2023-09-01 DOI: 10.1215/02705346-10654913
Finley Freibert
{"title":"Nonmaterial Overelaboration: Gender, Casting, and Camouflaged Labor in Pat Rocco's Promotional Travelogue","authors":"Finley Freibert","doi":"10.1215/02705346-10654913","DOIUrl":"https://doi.org/10.1215/02705346-10654913","url":null,"abstract":"Pat Rocco's ONE Adventure, a promotional film for a gay men's nonprofit's tourism subsidiary, documented early 1970s US-Europe homophile coalitions but also incorporated softcore sequences for commercial appeal to a gay male market. Yet Rocco's disavowal of pornography generally — and specifically in the case of ONE Adventure — elides the precarious labor that undergirded his films’ productions. This article proposes that gay media history needs to critically confront nonmaterial overelaboration — the covering over of the material conditions of media production — in media products, their paratexts, and historiography itself. It is necessary for gay media history to take up feminist production history methods to interrogate this elision of labor enacted by cultural history approaches to Pat Rocco's filmmaking. More broadly, the article's concept of nonmaterial overelaboration provides a critical avenue for focalizing labor in other areas of media history.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135736994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines 制作“女性新闻”:新女性的法国女权主义者(1934-36)和新闻短片杂志《actualitssamuminines》
3区 艺术学
CAMERA OBSCURA Pub Date : 2023-09-01 DOI: 10.1215/02705346-10654871
Maya Sidhu
{"title":"Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine <i>Actualités féminines</i>","authors":"Maya Sidhu","doi":"10.1215/02705346-10654871","DOIUrl":"https://doi.org/10.1215/02705346-10654871","url":null,"abstract":"Abstract This article demonstrates how the interwar French suffragist organization la Femme nouvelle used the platform of the newsreel to make political claims through its collaboration with Pathé’s newsreel magazine Actualités féminines or Women's News. Through the filming of their political actions and educational segments edited together in their newsreel compilation film, Le film de la Femme nouvelle (dir. la Femme nouvelle, France, 1935), the suffragists, led by Louise Weiss, frame themselves as essential workers, fearless political actors, and perfect housewives. These contradictions reveal a strategic manipulation of their gender identity to obtain the vote at all costs. Newsreel making provided the feminists an avenue for political claimsmaking beyond electoral politics. These filmed accounts of their actions give the spectator a sense of being present at the event, which is missing from written accounts of la Femme nouvelle's history. Through this aesthetic liveness, achieved through camera placement and staging in crowd scenes, the suffragists were able to portray themselves as vital political actors. One such filmed protest from 12 May 1935 provides a compelling account of their filmmaking practice, in which the activists march on la place de la Bastille in chains, then break their chains and put them in a bonfire. The French Revolution, referenced by this action, was a popular analogy for the Left, as seen in the film La marseillaise (dir. Jean Renoir, France, 1937). Le film de la Femme nouvelle is significant because it allows for an alternate, feminist history of political filmmaking in the period.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135736998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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