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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

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

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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

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

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":null,"pages":null},"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

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":null,"pages":null},"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

Toward a Feminist Fourth Cinema: Waru (2017) 走向女权主义的第四部电影:Waru (2017)

3区艺术学

CAMERA OBSCURA Pub Date : 2023-09-01 DOI: 10.1215/02705346-10654899

Leah Vonderheide

{"title":"Toward a Feminist Fourth Cinema: <i>Waru</i> (2017)","authors":"Leah Vonderheide","doi":"10.1215/02705346-10654899","DOIUrl":"https://doi.org/10.1215/02705346-10654899","url":null,"abstract":"Abstract This essay offers an analysis of Waru, an omnibus film written and directed by a sisterhood of nine Māori women, which illuminates a philosophy of Māori women's filmmaking and indicates new possibilities for a global Indigenous cinema. In the two decades since Māori filmmaker Barry Barclay declared the existence of a “fourth cinema,” the cinema of Indigenous peoples, the number of dramatic feature films by Indigenous directors around the globe has grown significantly, with particular attention garnered by the success of Māori filmmaker Taika Waititi. Yet, while it would be tempting to declare that Barclay's onetime ideal of a flourishing Indigenous cinema “outside the national orthodoxy” has been achieved, Māori women continue to be marginalized in the film industry. As many critics have noted, Merata Mita's Mauri (1988) remained the only dramatic feature film to be written and directed by a Māori woman for almost thirty years. That finally changed in 2017 with Waru. Drawing from the growing body of scholarship on mana wahine, often referred to as Māori feminism, by Ngahuia Te Awekotuku, Linda Tuhiwai Smith, Aroha Yates-Smith, Naomi Simmonds, and Leonie Pihama, this essay argues that Waru's filmmakers recenter mana wahine to devise a new cinematic framework that is simultaneously Indigenous and feminist to enable Māori women to contribute not only to the fourth cinema envisioned by Barclay but also to a feminist fourth cinema grounded in values specific to Māori women.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135736995","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

Calculating Couples: Computing Intimacy and 1980s Romance Software 计算夫妻:计算亲密关系和1980年代的浪漫软件

3区艺术学

CAMERA OBSCURA Pub Date : 2023-09-01 DOI: 10.1215/02705346-10654941

Reem Hilu

{"title":"Calculating Couples: Computing Intimacy and 1980s Romance Software","authors":"Reem Hilu","doi":"10.1215/02705346-10654941","DOIUrl":"https://doi.org/10.1215/02705346-10654941","url":null,"abstract":"Abstract In the 1980s, as the market for computing in the home was still emerging, a category of software arose that promised computer-mediated experiences of romance and sex. These programs, which this essay is calling “romance software,” drew on popular psychological and therapeutic discourses to offer couples advice for more satisfying relationships while also managing their interactions with the computer as an intimate or romantic activity. This essay argues that romance software employed the then novel home computer as a tool that could help mediate relational and communication ideals and bolster the heterosexual couple in the context of changing expectations for relationships in the 1980s. Romance software attempted to instantiate computing intimacy — referring not only to the application of computational methods to the management of relationships but also to the romantic or erotic experience of a couple using computers together. Although they amounted to a minor subset of the software introduced during the decade, these programs envisioned computing in the home as a technology to mediate companionate relationships. Romance software demonstrates that some software companies in the 1980s conceived of personal computer users not only as abstracted masculine individuals but rather addressed users within their roles in companionate relationships, in this case as part of a couple. These programs proposed methods through which computing could be used to assist in creating better relationships for couples that had adopted computers into their homes.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135736993","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

Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability 莎伦·洛克哈特的休闲哲学:走向社交的生态电影

3区艺术学

CAMERA OBSCURA Pub Date : 2023-09-01 DOI: 10.1215/02705346-10654885

Rebecca A. Sheehan

{"title":"Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability","authors":"Rebecca A. Sheehan","doi":"10.1215/02705346-10654885","DOIUrl":"https://doi.org/10.1215/02705346-10654885","url":null,"abstract":"This article considers the cinematic works of the contemporary American artist Sharon Lockhart in the context of what it identifies as philosophies and practices of “the casual,” from the impact of Emersonian aesthetics on post – World War II American avant-garde cinema to Lockhart's unique version of “hanging out,” which resonates considerably with how Leo Bersani defines sociability. Viewing Lockhart's aesthetic signatures (her use of extreme long takes, static long shots, the natural settings of the majority of her films, and the anonymous identity and relations of her subjects, many of whom are children) first as manifestations of Emerson's and Heidegger's efforts to avoid the violence of Western thinking that they call “clutching” and “grasping” at the world, and then as instantiations of Bersani's notion of sociability as “a form of relationality uncontaminated by desire,” the article argues that her films manifest an eco-cinema that proposes living less invasively in the world. It goes on to show that, for Lockhart, this environmental ethos emerges from her use of the casual to delicately craft a cinema of social care that allows its subjects the freedom of not having their relations or identities defined by or within the cinematic frame. Lockhart's cinema is thus unique for deploying an aesthetics that can be described as casual, oblique, and nonchalant, toward ethical ends that have both sociological and environmental implications, what Bersani terms “queer ecology.”","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135735815","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