CAMERA OBSCURA最新文献_第4页

“All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films “你所有的最爱都有问题”:醉酒女权主义电影的表演观影

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-09-01 DOI: 10.1215/02705346-9787056

Shana MacDonald

{"title":"“All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films","authors":"Shana MacDonald","doi":"10.1215/02705346-9787056","DOIUrl":"https://doi.org/10.1215/02705346-9787056","url":null,"abstract":"\u0000 This article looks at the work of the Drunk Feminist Film (DFF) collective from Toronto, Canada. DFF screenings offer interactive in-person and online events that combine watching popular Hollywood films with simultaneous live commentary, audience participation, and hashtag dialogs on Twitter. The article looks specifically at how the multiplatform hybridity of online and embodied participation allows feminist audiences to create collective spectatorial communities. DFF events emphasize paratextual conversation and reimagine how we can relate to movie narratives in the twenty-first century. By looking at a specific screening of The Craft (dir. Andrew Fleming, US, 1996), this article illustrates how DFF indexes the potential of engaging mainstream films while also engaging in feminist conversations about them. Problematic narrative aspects are discussed in real time by a community and are recorded via Twitter, resulting in digitally archived debates about how audiences collaboratively reinvent difficult but popular myths within their favorite films. As a result, the collective decenters mainstream films in favor of paratextual ephemera that negotiate the audience's pleasure in and critique of their favorite films.","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":"42398607","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

Viola Liuzzo / Heather Heyer: Mediating the Antiracist White Female Martyr 维奥拉·柳佐/希瑟·海耶：调解反种族主义白人女烈士

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-09-01 DOI: 10.1215/02705346-9787000

Aniko Bodroghkozy

引用次数: 0

Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931) 黄和早川：《龙女》中的种族表演、装饰主义和黄音（1931）

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-09-01 DOI: 10.1215/02705346-9786986

Xin Peng

{"title":"Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)","authors":"Xin Peng","doi":"10.1215/02705346-9786986","DOIUrl":"https://doi.org/10.1215/02705346-9786986","url":null,"abstract":"\u0000 This article provides a comparative study of Anna May Wong and Sessue Hayakawa—the two most iconic stars of Asian descent of American cinema's silent era—by examining the reception history around their rare collaboration, the early sound film and yellow peril thriller Daughter of the Dragon (dir. Lloyd Corrigan, US, 1931). The on-screen collision of these two stars associated with the imaginary East reveals incongruities between a homogeneous Orientalist image and heterogeneous—culturally acquired, professionally trained, mechanically reproduced, and gendered—yellow voices. Situating the star personae of Wong and Hayakawa in the geopolitical environments of the interwar era, the essay foregrounds the plasticity of voice as a form of cultural capital fetishized as an exchangeable commodity through the heavily marketed product of the new sound cinema. In this case study, the accented voice serves also as a contact point between European, American, and Asian film industries. A close analysis of the differently accented yellow voices in Daughter of the Dragon demonstrates the artificial homogeneity of the Orient embodied by the supposedly “authentic” stars of Asian descent and complicates the established configurations of the gendered “Orientals”: the Janus-faced Japanese man and the ornamentalist yellow woman.","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":"45119226","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

A Problem of Fit: Athina Rachel Tsangari and Greek “Weird Wave” Cinema 适合的问题：阿西娜·蕾切尔·赞加里与希腊“怪波”电影

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-09-01 DOI: 10.1215/02705346-9787014

Eleni Palis

{"title":"A Problem of Fit: Athina Rachel Tsangari and Greek “Weird Wave” Cinema","authors":"Eleni Palis","doi":"10.1215/02705346-9787014","DOIUrl":"https://doi.org/10.1215/02705346-9787014","url":null,"abstract":"\u0000 This article uses Athina Rachel Tsangari's films to interrogate and reframe the Greek “Weird Wave” film movement (largely shaped by her frequent collaborator, Yorgos Lanthimos), revealing how the wave has obscured Tsangari's feminist authorship. In general, the Weird Wave had described a cohort of films beginning around 2009 in which familial dysfunction, violence, ineffectual communication, and corporeal “weirdness” allegorize Greek political, economic, and social crises. In a kind of temporal jumble, Tsangari's first film Fit (Greece, 1994) provides instructions for reading her later, supposedly Weird Wave films. The conceptual capaciousness of the term fit, as both a film title and a concept, refracts across Tsangari's films and career at large. This article exploits wordplay around fit as a technical standard of sound and image cohesion (how image and sound fit together), as a thematic narrative preoccupation regarding space, place, and belonging (fitting in), and as a categorizing metric (fit for inclusion). Reading diegetic and extradiegetic fit in Tsangari's film and television works, including Attenberg (Greece, 2010), The Capsule (Greece, 2012), the short 24 Frames per Century (Italy, 2013), Chevalier (Greece, 2015), and Trigonometry (BBC, 2020), reveals Tsangari's authorial signature and how Tsangari's films ambivalently benefit from “wave” marketing even as their reception bears out the costs of that uncomfortable fit. Paradoxically, Tsangari's auteur signature emerges in her struggle against category, especially Weird Wave and “women's cinema” labels. In diegetic and extradiegetic negotiations of belonging, Tsangari's auteurism emerges.","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":"43002739","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

“A More Personal Look at Her Life”: Family Narrative, Gender, and Transnational Memories in The Girl and the Picture “从个人角度看她的生活”:《女孩与画面》中的家庭叙事、性别和跨国记忆

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-09-01 DOI: 10.1215/02705346-9787028

Pingfan Zhang

{"title":"“A More Personal Look at Her Life”: Family Narrative, Gender, and Transnational Memories in The Girl and the Picture","authors":"Pingfan Zhang","doi":"10.1215/02705346-9787028","DOIUrl":"https://doi.org/10.1215/02705346-9787028","url":null,"abstract":"\u0000 Recent decades have witnessed a booming film industry portraying the Nanjing Massacre, both within and outside Mainland China, which is closely related to contemporary Chinese political, socioeconomic, and cultural transformations. This article examines the USC Shoah Foundation's 2018 documentary film The Girl and the Picture, featuring the well-known Nanjing Massacre female survivor Xia Shuqin. It argues that the cinematic rendition of Xia's family stories serves as a piercing incision into Nanjing Massacre historical memories and weaves together the personal with the national, and transgenerational with transnational memories. The Girl and the Picture radicalizes cinematic discourses on the Nanjing Massacre from multiple angles and not only sheds light on the emerging field of Nanjing Massacre studies but also contributes to our understanding of the ongoing memory boom of the Nanjing Massacre in the context of globalization. By delivering the stories of Xia along both family and transnational lines, The Girl and the Picture points out a new way to cope with the memory crisis of the Nanjing Massacre, and to take responsibility for transmitting the memories across generational, national, gender, and ethnic boundaries.","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":"46069674","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

Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist 《相当粗鄙:接受皮皮洛蒂主义中的欲望与厌恶的辩证法》

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-05-01 DOI: 10.1215/02705346-9561437

Emily Watlington

引用次数: 0

Looking for Something New: Antonioni's La notte and Specters of Femininity 寻找新事物：安东尼奥尼的《女人与女人的幽灵》

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-05-01 DOI: 10.1215/02705346-9561451

Sławomir Masłoń

{"title":"Looking for Something New: Antonioni's La notte and Specters of Femininity","authors":"Sławomir Masłoń","doi":"10.1215/02705346-9561451","DOIUrl":"https://doi.org/10.1215/02705346-9561451","url":null,"abstract":"\u0000 This article is a political interpretation of La notte (dir. Michelangelo Antonioni, Italy/France, 1961) and proposes that the central theme of the film is the identity of the discourse of capital and the discourse of patriarchy, both as solipsistic, self-perpetuating enjoyment. On the narrative level, the capitalist-patriarchal discourse is incarnated in double complementary figures, both male and female. The male couple consists of a traditional fatherly moralizing figure and a modern mute solipsist, who is also a sexual predator. The female one is constructed out of mute enjoyment of a nymphomaniac and a phantasmagoric figure of Valentina whose power of fascination is utterly mediated by the commodities among which she moves and the fashionable intellectual commonplaces she utters. This configuration is set up to map a labyrinth of existential im/possibilities that a non-spectral new woman, Lidia, faces at a particular juncture in Italian history. Her initial flânerie, in which she attempts to dissolve her bourgeois identity-property, fails as she becomes conscious that what seems to be the space of indeterminacy and becoming is in fact a thoroughly organized urbanist hyperspace that aims at absolute management of people and commodities. Unable to find something really new in new Italy, Lidia returns to the constricting discourse of melodrama she has been inscribed into as a long-suffering wife in order to undermine its conventions and use its utopian potential to put her relationship with her husband on a new footing. Although her attempt fails, an attentive viewer is given two glimpses that catch something beyond the commodity-oriented melodramatic universe: a timeless moment of transcendence created in writing and a reconciliation of subject and object in a female dance act.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45975665","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 Reserve Army of Affectivity: Unemployed Labor in William Greaves's Psychodramatic Cinéma Vérité 情感后备军:威廉·格里夫斯心理戏剧《cinsamma vsamri<e:1>》中的失业劳工

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-05-01 DOI: 10.1215/02705346-9561409

A. Pittman

{"title":"The Reserve Army of Affectivity: Unemployed Labor in William Greaves's Psychodramatic Cinéma Vérité","authors":"A. Pittman","doi":"10.1215/02705346-9561409","DOIUrl":"https://doi.org/10.1215/02705346-9561409","url":null,"abstract":"\u0000 This article offers a political reading of In the Company of Men (dir. William Greaves, US, 1969), an industrial human relations and training film that Newsweek magazine commissioned the renowned black American filmmaker William Greaves to make. Tasked by his sponsors with repairing communication between white factory foremen and black men who were labeled the hard-core unemployed, Greaves combines the documentary style of cinéma vérité with psychodrama, a group therapy method that uses theatrical techniques of role-play and reenactment to both reveal and treat social conflict. Situating psychodrama as both a gendered strategy of racial governance and a model of workplace training tied to the emerging social conditions of the deindustrializing United States, this article focuses on the labor performed by the unemployed black men within the therapeutic division of labor that Greaves's film indexes and reproduces. In doing so, it argues that Greaves's film not only documents contradictions of inclusion and recognition in the late 1960s, when the postwar ideology of racial liberalism was in decline, but it also anticipates the extractive racial politics of capitalism in the early twenty-first century, as people who have been consigned to the status of social and industrial excess are put into service for the emotional training of capital's managers.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43225892","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

Tumbling Backward: Scrolling, Temporality, and One Direction Fan Narratives on Tumblr 向后翻滚:Tumblr上的滚动、时间性和单向乐队粉丝叙事

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-05-01 DOI: 10.1215/02705346-9561465

A. Mecklenburg

{"title":"Tumbling Backward: Scrolling, Temporality, and One Direction Fan Narratives on Tumblr","authors":"A. Mecklenburg","doi":"10.1215/02705346-9561465","DOIUrl":"https://doi.org/10.1215/02705346-9561465","url":null,"abstract":"\u0000 The English/Irish boy band One Direction (2010–16) was one of the first major artists to capitalize on social media's potential for building and maintaining a dedicated fan base over time. The One Direction fandom was particularly pervasive on the blogging site Tumblr, which was prominent between 2007 and 2018 both for its chaotic and confusing “rhizomatic” structure, as well as its popularity with marginalized users and fan communities. This article uses the One Direction fandom as a lens through which to examine the affordances of Tumblr as a platform. It argues that Tumblr encourages its users to draw on the fragmentary, potentially incoherent pieces of information they regularly encounter on the site in order to collectively create narratives that can accommodate them. In other words, Tumblr's platform characteristics produce a queer temporality that combines provisionality and multiplicity with narrative forms and meanings. The article highlights three specific characteristics of Tumblr's platform—its “backward scroll,” its tagging structure, and its recirculation of content—that together encourage users to understand time as comprised of these multiple provisional pasts, presents, and futures. The article points toward the way that narrative and theories of collective storytelling can be used as frameworks for understanding social media platforms.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44470617","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

Incestuous Wanderlust: 35 Shots of Rum's Atmospheres of Circulation 乱伦的漫游:35杯朗姆酒的循环气氛

IF 0.4 3区艺术学

CAMERA OBSCURA Pub Date : 2022-05-01 DOI: 10.1215/02705346-9561423

Iggy Cortez

{"title":"Incestuous Wanderlust: 35 Shots of Rum's Atmospheres of Circulation","authors":"Iggy Cortez","doi":"10.1215/02705346-9561423","DOIUrl":"https://doi.org/10.1215/02705346-9561423","url":null,"abstract":"\u0000 Claire Denis's films have long been associated with enveloping moods. This essay focuses on how atmospheres in her film, 35 Shots of Rum (35 Rhums, France/Germany, 2008), possess a unique conceptual valence within her work. As a “rethinking” of Yasujirō Ozu's Late Spring (Banshun, Japan, 1949), the film's narrative premise traces the strong bond between a widower and his adult daughter. Most critical assessments of the film thus interpret 35 Shots of Rum as an homage to Ozu, seeing the daughter's love for her father as a reflection of Denis's devotion to the Japanese director. However, this essay moves beyond a cursory reading of Denis's film as a celebration of paternal legacies, arguing that its atmospheric textures—the phantasmatic movement of its intertexts, the resonance of its rhythmic editing, or the vague force of its enigmatic gestures—express a critique of gendered and neocolonial norms determining recognition and value within world cinema. Atmosphere also thematizes that which resists full disclosure, such as the unrealized but looming possibility of incestuous desire haunting Late Spring and Denis's oeuvre. Incest's equivocal, ambiguous, but potentially felt presence in 35 Shots also extends to multiple extradiegetic allusions the film pursues with a casual commitment—what this article calls the film's loitering cadence—an endless flirtation with various artistic forefathers that undermines patrilinear genealogy as a unified or coherent origin. Through these critical coordinates, 35 Shots of Rum emerges as a cartography for imagining alternative modes of transnational circulation and descent in world cinema.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42461088","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