CAMERA OBSCURA最新文献_第3页

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

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

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

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

{"title":"Art on Film at Finch College: Reproductive Labor in the Enrichment Economy","authors":"Timothy Ridlen","doi":"10.1215/02705346-10278600","DOIUrl":"https://doi.org/10.1215/02705346-10278600","url":null,"abstract":"\u0000 Finch College was a small women's liberal arts college located on the Upper East Side of Manhattan open from 1900 to 1975. The Contemporary Wing of the Finch College Museum of Art held a number of important exhibitions for conceptual art, experimental media, and film organized by the museum's curator, Elayne Varian, from 1966 to 1975. This article addresses how ideas of process, reproduction, and documentation were being reconfigured at Finch, especially in film and media art of the 1960s. Robert Morris's film installation, Finch College Project (US, 1969), is emblematic of this larger turn toward process in the visual arts; however, Varian's Projected Art exhibitions complicate our understanding of how and why artistic process became a subject of interest. In light of what Boltanski and Esquerre have recently identified as an “enrichment economy” and what feminist thinkers of the time theorized as reproductive labor, works in the Projected Art series shift attention to the reproductive labor of caring for, curating, collecting, and consuming visual art and film. I argue that Varian's exhibitions as a whole complicate our understanding of process-oriented work during the postwar period, especially film and media that moved into gallery exhibition spaces. These works attacked the existing modes of production by turning toward process, complicating the status of photographic reproduction, and contributing their own surplus value through reproductive labor.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85427758","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

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

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

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引用次数: 0