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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

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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

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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

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引用次数: 0

Appear to Disappear: Blackness, Affect, and the Political Imaginary 似乎消失:黑暗、情感和政治想象

3区艺术学

CAMERA OBSCURA Pub Date : 2023-09-01 DOI: 10.1215/02705346-10654955

David Stephens

引用次数: 0

India's Daughter: It Is Time to Retire the Realist Rape Documentary 印度的女儿:是时候让现实主义强奸纪录片退休了

3区艺术学

CAMERA OBSCURA Pub Date : 2023-09-01 DOI: 10.1215/02705346-10654927

Nandini Sikand

引用次数: 0

“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville “苏格兰威士忌!苏格兰威士忌!苏格兰威士忌!——尚塔尔·阿克曼(Chantal Akerman)的《炒马镇》(Saute ma ville)中无效的家庭场景

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2023-05-01 DOI: 10.1215/02705346-10278586

Eleanor Rowe-Stefanik

{"title":"“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville","authors":"Eleanor Rowe-Stefanik","doi":"10.1215/02705346-10278586","DOIUrl":"https://doi.org/10.1215/02705346-10278586","url":null,"abstract":"\u0000 This article reads Chantal Akerman's short film Saute ma ville (Blow Up My Town, Belgium, 1968) with and against texts by Giorgio Agamben, Gilles Deleuze, and Herman Melville. Rather than being merely a precursor to Akerman's later genre-defining efforts in recording female domestic life, I propose that Saute ma ville displays the potentiality for domestic labor itself to be a destituent practice, rather than an expected component of reproductive, conventionally gendered work. The way that Akerman mobilizes the inoperative actions of her protagonist — a “girl without references” — in her “preference not to” perform the supportive labor of the domestic space and in so doing literally “blow up her town” makes this early work interpretable as structurally concerned and politically motivated recit in the mode of her later films, rather than merely narrative-focused histoire. The protagonist of the film, in her Chaplinesque resistance to allow household chores to sustain her home, displays a conceptual paradigm in which those still separated from politics and from the space of the polis may yet act politically. Reading the film with Melville's Bartleby the Scrivener and Deleuze's and Agamben's responses to that text puts pressure on the limits of Agamben's thought on inoperativity and reinscribes the importance of Akerman's deeply affective cinematography within an anti-capitalist feminist critique.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"17 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74925255","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

Gift or Weapon? Reproductive Decision, the Phenomenology of Pregnancy, and Alien Language in Denis Villeneuve's Arrival 礼物还是武器?丹尼斯·维伦纽夫《降临》中的生殖决定、怀孕现象学与异域语言

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2023-05-01 DOI: 10.1215/02705346-10278614

N. Morgenstern

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引用次数: 0

Archiving Feeling in Yvonne Rainer's Journeys from Berlin/1971 伊冯娜·莱纳的柏林之旅中的情感档案/1971

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2023-05-01 DOI: 10.1215/02705346-10278628

Helena Shaskevich

{"title":"Archiving Feeling in Yvonne Rainer's Journeys from Berlin/1971","authors":"Helena Shaskevich","doi":"10.1215/02705346-10278628","DOIUrl":"https://doi.org/10.1215/02705346-10278628","url":null,"abstract":"\u0000 Yvonne Rainer's third and most explicitly political feature-length film, Journeys from Berlin/1971 (US/UK/West Germany, 1979) explores the relationship between personal and political trauma through the lens of the instability and violence that ravaged West Germany during the period commonly referred to as the German Autumn (1977). Through a close reading of the film's formal structure, this essay argues that Journeys from Berlin/1971 represents Rainer's attempt to imagine a feminist counterpublic in the form of a queer “archive of feelings.” This essay traces the film's narrative junctures, comprised of five distinct and incongruous tracks layered and juxtaposed in a collage-like form, arguing that Rainer creates points of connection between scenes of domestic intimacy and political violence. In doing so, Journeys bridges the typically privatized and historically negated realm of everyday traumas of women and queer subjects with the public space of political trauma and asserts the primacy of both within national histories. This essay further argues that the female revolutionaries who emerge within these charged touchpoints act as figures of queer possibility. Their explicit and often spectacular refusals and failures — of the liberatory promises of bourgeois motherhood on the one hand, and political activism on the other — deny any possibility of a reparative fantasy within the film. Made during a period of significant aesthetic and personal change in Rainer's life following her attempted suicide, the film's form as an alternative archive of feminist resistance ultimately acts as both catharsis and a means of bringing this alternative community into being.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"2 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90980523","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

Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm 把他们关起来:李安电影《冰风暴》中的冷酷保守主义

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2023-05-01 DOI: 10.1215/02705346-10278558

P. Flanery

{"title":"Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm","authors":"P. Flanery","doi":"10.1215/02705346-10278558","DOIUrl":"https://doi.org/10.1215/02705346-10278558","url":null,"abstract":"\u0000 This article considers how The Ice Storm (dir. Ang Lee, US, 1997) reframes the politics of Rick Moody's novel of the same name and works via a network of symbols to align character Elena Hood (Joan Allen) with Hillary Clinton, suggesting an analogy between the scandals of the Richard Nixon and Bill Clinton presidencies. Simultaneously, the film mounts a sustained campaign to constrain female sexuality, chiefly through its sanitizing of male characters’ own sexuality and recasting of Wendy Hood (Christina Ricci) as a sexually predatory Riding Hood/witch figure. Through its constraining of social transgression more generally, punishing Mikey Carver (Elijah Wood) for the sins of his parents and wider community in a way that can be read fruitfully through Jacques Derrida's “Plato's Pharmacy,” the film produces a narrative of profound conservatism even as it courts progressive audiences. Notwithstanding its “independent” status, its distribution through Fox (then owned by Rupert Murdoch's News Corp), situates the film institutionally in ways that challenge our understanding of the category of “independent” as necessarily politically progressive. The film's double-dealing, this article argues, demands that we attend to the phenomenon of a film that invites identification with progressive or transgressive characters only to punish them with reintegration into regimes of the normal or, failing such a maneuver, death. The lingering question this article identifies is how we hold to account films that are misunderstood as belonging to canons of progressive aesthetics while functioning as stealth engines of retrograde normativity.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"17 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90971417","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

Art on Film at Finch College: Reproductive Labor in the Enrichment Economy 芬奇学院的电影艺术:富裕经济中的生殖劳动

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2023-05-01 DOI: 10.1215/02705346-10278600

Timothy Ridlen

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引用次数: 0