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Chantal Akerman and the Cinéfille Chantal Akerman和cinsamfille

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2023-05-01 DOI: 10.1215/02705346-10278572

Elspeth Mitchell

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引用次数: 0

Her Body, Her Choice: Tough Girl Affect, Trump Support, and the 2020 Pandemic 她的身体，她的选择:坚强女孩的影响，特朗普的支持，以及2020年的大流行

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2023-05-01 DOI: 10.1215/02705346-10278642

Jenny Stümer

{"title":"Her Body, Her Choice: Tough Girl Affect, Trump Support, and the 2020 Pandemic","authors":"Jenny Stümer","doi":"10.1215/02705346-10278642","DOIUrl":"https://doi.org/10.1215/02705346-10278642","url":null,"abstract":"\u0000 When anti-lockdown protests erupted in the United States during the 2020 onset of the COVID-19 pandemic, many right-wing women crudely appropriated the feminist slogan “my body, my choice” in defiance of liberal fears and in support of Donald Trump. Looking at the widely shared image of a young woman holding a sign with the phrase at a rally in Texas, I discuss the communal charge of what I call tough girl affect—a politically saturated vibe, touting a notably youthful, right-wing femininity that is deliberately feisty, fun, and provocative, yet compliant with the hetero-patriarchal agenda of Trump’s neoliberal macho politics. I am interested in the way body and choice evoke white femininity as affective strategy, negotiating a public feeling of privileged belonging to the nation. The article works through the tenets of body, border, and nation as central to this investment, suggesting that the tough girl image mobilizes femininity to affectively strengthen conservatism, whiteness, and homeland in the face of the pandemic. Staging a fantasy of impunity, the tough girl intimates the invincible conservative body in opposition to the porous emotionality of feeble liberals. At the same time, the spectacle of white femininity necessarily fuels national fears of permeability and hence charges negative (even fatal) attachments to fantasmatic sovereignty. While mobilizing vulnerability to energize femininity, whiteness, and borders, the image ultimately exposes the compromised bargains of living and dying in (Trump’s) America.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"70 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85078625","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

“The very palpitation of life!”: “The Leaves Are Stirring” in Context “生命的悸动！”：语境中的“树叶在搅动”

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-12-01 DOI: 10.1215/02705346-10013618

Ivan Cerecina

引用次数: 0

Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet 《混音到异乡档案:卡扎尔摄影和波斯地毯》

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-12-01 DOI: 10.1215/02705346-10013590

N. Akhtari

{"title":"Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet","authors":"N. Akhtari","doi":"10.1215/02705346-10013590","DOIUrl":"https://doi.org/10.1215/02705346-10013590","url":null,"abstract":"\u0000 This article reveals how engagements with the photographic archives of premodern Iran and the Persian carpet break open transtemporal, affective, and queer interplays in diaspora. Examining a digital remix of a photograph of a Qajar princess, ‘Ismat al-Dowlah, from the archives of nineteenth-century Iran, the article argues that the digital (mis)use of archives exposes what forms such as the Persian carpet and photography erase: each medium's close ties with power, labor, gender, and sexuality. It develops a relational approach to understandings of photography that highlights the performative registers for a diasporic gaze while also troubling the imperial investment in understanding photography's history and its practices as a new technology that developed in the nineteenth century. This work considers how unlearning the history of Qajar photography entails deemphasizing the Qajar's king Naser Al Din Shah's fascination with photography's technological newness and instead exposes what desires his fascination was tethered to. This piece brings into conversation techno-historical overlaps between carpet weaving, the Jacquard machine, and computational arts, opening up critical questions about gender vis-à-vis production, labor, and computation within both carpets and computers as media interface.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48846042","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

Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior 恰当的女性主义:恰当行为中的矛盾心理和引用实践

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-12-01 DOI: 10.1215/02705346-10013660

Clara Bradbury-Rance

{"title":"Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior","authors":"Clara Bradbury-Rance","doi":"10.1215/02705346-10013660","DOIUrl":"https://doi.org/10.1215/02705346-10013660","url":null,"abstract":"\u0000 Across her body of work in film, television, and digital media, Desiree Akhavan has captured the awkward politics of cultural production for female filmmakers and media-makers. Yet she has also refused to straightforwardly align her work with feminist critiques of dominant cultural production practices, however much she is interpellated by them. Akhavan, a queer woman of color in a racist, sexist, and homophobic industry, negotiates both contemporary feminism's potentials for solidarity and its intersectional shortcomings. Akhavan's autobiographical characters wrestle with the need for social justice while questioning the “appropriate behaviors” demanded by serious commitments to the cause. Her work reveals the ambivalence of feminist attachments. This article reads the queer feminist politics of Akhavan's work, with a particular focus on her debut feature Appropriate Behavior (UK/US, 2014), through the lens of citational practice. The author argues that Akhavan employs citational codes that function in Clare Hemmings's words as a “storytelling tactic,” sustaining normative narratives about feminism's recent past. By employing an ambivalent trope that the author calls citation→disavowal, Akhavan troubles both the dominant cultures she is excluded from and the viability and legibility of her place within the movements that resist them.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49209445","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

Bodies in Water: Disability Cinemas and Creatures of the Sea 水里的尸体:残疾人电影院和海洋生物

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-12-01 DOI: 10.1215/02705346-10013646

Emma Ben Ayoun

{"title":"Bodies in Water: Disability Cinemas and Creatures of the Sea","authors":"Emma Ben Ayoun","doi":"10.1215/02705346-10013646","DOIUrl":"https://doi.org/10.1215/02705346-10013646","url":null,"abstract":"\u0000 Jacques Audiard's Rust and Bone (France, 2012) and Guillermo del Toro's The Shape of Water (US, 2017) tell, in very different ways, a familiar story: a disabled, female protagonist is rehabilitated by romance, restored in her role as the object of heterosexual desire. Stephanie, in Audiard's film, has both her legs amputated after an accident at her job training orca whales. The mute Eliza, in del Toro's, falls in love with an amphibian creature held captive in the laboratory where she works as a cleaner. Why these invocations of the sea and its creatures? What makes marine life such a compelling metaphor in disability narrative? Here the author considers the ways that water and aquatic animals trouble the boundary between life and nonlife, gesture toward the always-uninhabitable space of the other, and become points of contact between the visual and the material. In both films, these images, the author argues, reveal cinema's fantasies of weightlessness and containment, ableist fantasies that are always steeped in the desire to preserve the spectator's imagined bodily integrity. But these metaphors also reveal cinema's ability to confound space and visibility, to produce discontinuous and immaterial forms of life, and, in so doing, to challenge dominant notions of embodiment and wholeness. Drawing on contemporary work in disability theory as well as the writings of John Berger, Maurice Merleau-Ponty, and Gilles Deleuze, the author offers a reading of these films that both lays bare the extent of their ableism and locates the moments in which they offer us ways of thinking otherwise.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49019913","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

The Leaves Are Stirring (1948) 《树叶在搅动》（1948）

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-12-01 DOI: 10.1215/02705346-10206824

Nicole Védrès, Ivan Cerecina

引用次数: 0

Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations 时间表面:Mosori Monika(1970)和Chick Strand的跨文化探索

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-12-01 DOI: 10.1215/02705346-10013604

Ekin Pinar

{"title":"Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations","authors":"Ekin Pinar","doi":"10.1215/02705346-10013604","DOIUrl":"https://doi.org/10.1215/02705346-10013604","url":null,"abstract":"\u0000 This article considers how the temporality at work in Chick Strand's film Mosori Monika (US, 1970) breaks with the patriarchal, colonial, and capitalist narratives of genealogy, progress, and production. In Mosori Monika, an experimental ethnographic film that documents the swamps of Orinoco River in Venezuela, filmmaker Strand focuses her attention on the interactions between the Spanish Franciscan missionaries who came to the site in 1945 and the Warao who had little to no interaction with the outside world before the missionaries’ appearance. The film shows the competing realities and subjectivities of two women living in the area: a Franciscan nun, Sister Isabel, and an old Warao woman, Carmelita. Unlike the linear “exceptional artist beyond her time” narratives manifest in the recent spur of interest in Strand's body of work, the article explores the contemporary feel of Strand's film in relation to the transnational, cross-cultural, and affective ranges that go unnoticed when the scope of 1970s feminisms is painted in broad brushstrokes. Accordingly, the article emphasizes that Strand's nonteleological approach to history and ethnography in her film at once challenges the colonial, patriarchal gaze and its temporal distanciation and subjugation and invites us to reassess the linear feminist narratives of evolution, progress, and/or loss that often tend to rely on reductive historical periodization. Strand's filmmaking methods and style provide us with an alternative feminist historiographical model, “surfacing,” that highlights the productive resonances between then, now, and possible futures.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41851921","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

The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 2049 电影视角下的人类世:《银翼杀手2049》中的时间、物质和种族

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-12-01 DOI: 10.1215/02705346-10013632

Domietta Torlasco

引用次数: 0

From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative 从Elif到Esty?非正统与土耳其德国电影的囚禁叙事

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-09-01 DOI: 10.1215/02705346-9787042

Olivia Landry

{"title":"From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative","authors":"Olivia Landry","doi":"10.1215/02705346-9787042","DOIUrl":"https://doi.org/10.1215/02705346-9787042","url":null,"abstract":"\u0000 The 2020 Netflix drama series Unorthodox draws on tropes from a vexed archive of transcultural cinema, in particular Turkish German cinema. Through the frame of the captivity narrative, this essay examines how the series about a young Hasidic Jewish woman who escapes her family and community in Williamsburg, New York, and flees to Berlin presents culturally determined themes of victimhood, oppression, and gendered subjugation. A comparison with Turkish German films, such as 40 Square Meters of Germany (40 Quadratmeter Deutschland, dir. Tevfik Başer, West Germany, 1986) and When We Leave (Die Fremde, dir. Feo Aladağ, Germany, 2010), calls attention to the continuity of the captivity narrative, with its troubling themes, and asks the question of intent. As scholars have indicated in the case of Turkish German cinema, filmmakers have frequently been faced with the task of appealing to German mainstream audiences eager to see their own cultural stereotypes reaffirmed on screen. Rooted in colonialist and Orientalist fantasies, the captivity narrative provided an effective conduit. But what is it still doing in Unorthodox? Close readings of several scenes from the series and engagement with Hortense Spillers's concept of “pornotroping” as well as Hamid Naficy's “housebondage” and Meyda Yeğenoğlu's “unveiling” reveal at once the problems and the possibilities of Unorthodox as it employs and subverts the captivity narrative. The essay concludes with an analysis of place, namely, the Berlin setting of the series, as a historically fraught context that likewise raises questions about intentionality and the role of Germany's past and present.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41901006","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