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Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s Maria Hirszbein：20世纪20年代和30年代波兰电影的可见人物
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-12-01 DOI: 10.1215/02705346-9349357
Małgorzata Radkiewicz
{"title":"Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s","authors":"Małgorzata Radkiewicz","doi":"10.1215/02705346-9349357","DOIUrl":"https://doi.org/10.1215/02705346-9349357","url":null,"abstract":"\u0000 This article examines the career of the Polish film producer Maria Hirszbein (1889–1939/1942) in relation to the development of interwar Polish cinema, including Yiddish films, and the modern idea of a “New Woman.” Investigating Hirszbein's activities as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive to social issues. In reconstructing Hirszbein's professional biography, the text combines different sources such as press reports, film reviews, photographs from the collection of the Polish National Film Archive (FINA), and data collected by the Institute of Jewish History in Warsaw.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43353699","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
Interview with Florrie Burke Florrie Burke访谈录
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-12-01 DOI: 10.1215/02705346-9349483
Sarah Keller, Patricia White
{"title":"Interview with Florrie Burke","authors":"Sarah Keller, Patricia White","doi":"10.1215/02705346-9349483","DOIUrl":"https://doi.org/10.1215/02705346-9349483","url":null,"abstract":"\u0000 In this interview, Patricia White and Sarah Keller talk with Barbara Hammer's partner for over thirty years, Florrie Burke, who in multiple ways has helped keep Hammer's work present in the art world after her death in 2019. In the interview, Burke discusses life with Hammer and her drive to complete projects during the last years of her life. Outlining the variety of outlets for Hammer's work after her death, Burke describes her own role in ensuring the continuation of Hammer's legacy.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45163579","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
Thoughts on Making Films with Barbara Hammer 与Barbara Hammer合作拍摄电影的思考
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-12-01 DOI: 10.1215/02705346-9349441
L. Sachs
{"title":"Thoughts on Making Films with Barbara Hammer","authors":"L. Sachs","doi":"10.1215/02705346-9349441","DOIUrl":"https://doi.org/10.1215/02705346-9349441","url":null,"abstract":"\u0000 This personal essay articulates filmmaker Lynne Sachs's experiences working with experimental filmmaker Barbara Hammer. Sachs conveys the journey of her relationship with Hammer when they were both artists living in San Francisco in the late 1980s and 1990s and then later in New York City. Sachs initially discusses her experiences making Carolee, Barbara and Gunvor (US, 2018), which includes Hammer, the conceptual and performance artist Carolee Schneemann, and the experimental filmmaker Gunvor Nelson. She then discusses her 2019 film, A Month of Single Frames, which uses material from Hammer's 1998 artist residency in a Cape Cod shack without running water or electricity. While there, she shot film, recorded sounds, and kept a journal. In 2018, Hammer began her process of dying by revisiting her personal archive. She gave all of her images, sounds, and writing from the residency to Sachs and invited her to make a film with the material. Through her own filmmaking, Sachs explores Hammer's experience of solitude. She places text on the screen as a way to be in dialogue with both Hammer and her audience. This essay provides context for the intentions and challenges that grew out of both of these film collaborations.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41434396","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
Symmetry, Violence, and The Handmaiden's Queer Colonial Intimacies 对称、暴力与使女的殖民亲密关系
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-09-01 DOI: 10.1215/02705346-9052788
Jasmine Hu
{"title":"Symmetry, Violence, and The Handmaiden's Queer Colonial Intimacies","authors":"Jasmine Hu","doi":"10.1215/02705346-9052788","DOIUrl":"https://doi.org/10.1215/02705346-9052788","url":null,"abstract":"\u0000 The Japanese annexation of Korea (1910–45) implicates a crisis of representation in South Korean national history. Both the traumatic wounds and complex intimacies of Japan's rule over its Korean subjects were met with postcolonial suppression, censorship, and disavowal. This article examines Park Chan-wook's The Handmaiden (Ah-ga-ssi, South Korea, 2016), a period film set in 1930s Korea under Japanese rule, in relation to the two nations’ fraught but interconnected colonial and postcolonial histories. By analyzing the film's explicit sexual depiction through discourses of ethnicity, gender, and nation, it argues that the lesbian sex scenes encode and eroticize latent anxieties and tensions surrounding Japan-Korea relations, making explicit the ambivalent longing and lingering identification shared between the colonizers and the colonized. Furthermore, through intertextual reference to the intertwined and imitative relations between the national cinemas of Japan and Korea—relations mediated and elided by a long history of state censorship—Park's film repudiates an essentialist South Korean identity propped up by both nationalist narratives and market liberalization policies. Through palimpsestic projection of the colonial era onto South Korea's neoliberal present, the film invites parallels between colonialism's unresolved legacy and contemporary modes of cultural production. Simultaneously, the film offers a utopian vision of a national self that surfaces—rather than suppresses—the violence and pleasure incurred in confrontations with the colonial or transnational other.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41980042","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
Carolee Schneemann (1939–2019): Portfolio
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-09-01 DOI: 10.1215/02705346-9052942
K. White, Tess Takahashi
{"title":"Carolee Schneemann (1939–2019): Portfolio","authors":"K. White, Tess Takahashi","doi":"10.1215/02705346-9052942","DOIUrl":"https://doi.org/10.1215/02705346-9052942","url":null,"abstract":"\u0000 A portfolio of select photographs featuring significant works by Carolee Schneemann, photographs of Schneemann at work, and candid photographs of Schneemann with friends and colleagues. The portfolio complements the preceding essays and illustrations collected in the In Practice dossier dedicated to Schneemann. Several photographs in the portfolio have never before been published.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44492091","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
House Body House 房屋
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-09-01 DOI: 10.1215/02705346-9052928
Kenneth White
{"title":"House Body House","authors":"Kenneth White","doi":"10.1215/02705346-9052928","DOIUrl":"https://doi.org/10.1215/02705346-9052928","url":null,"abstract":"\u0000 The essay describes Carolee Schneemann's residence, a stone house constructed in 1750 by Huguenot settlers on land of the Munsee Lenape people, and its central role in her life and work from the early 1960s until her death in 2019. The essay gives particular attention to Schneemann's text “Parts of a Body House” (1957–67), a series of paragraphs composed over a decade that describe a network of biomorphic structures and multimedia environments. The essay argues that “Parts of a Body House” is a “nerve codex” by which to read the artist's life and work. The essay is derived in part from remarks the author delivered at the memorial service for Schneemann at Judson Memorial Church, New York, on 3 May 2019.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44540703","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
Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain 《雨中曲》中的女性代孕与白债
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-09-01 DOI: 10.1215/02705346-9052774
Anthea Kraut
{"title":"Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain","authors":"Anthea Kraut","doi":"10.1215/02705346-9052774","DOIUrl":"https://doi.org/10.1215/02705346-9052774","url":null,"abstract":"\u0000 This essay revisits the question of credit and debt in the celebrated 1952 film musical Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US) to show how white women's dancing bodies participate in the “talent relocations” that the movie both thematizes and suppresses. Specifically, it focuses on the relationship between Debbie Reynolds, who was a novice dancer when she was cast in the film, and the two other white women dancers who helped shape Reynolds's filmic body: assistant choreographer Carol Haney and dance-in Jeanne Coyne. Combining feminist and critical race perspectives with production studies, film studies, and dance and performance studies, the essay unites often disconnected gendered and racial analyses of the film by emphasizing the gendered forms of labor and the multiracial genealogies through which dance is reproduced. It also shows how the guise of white credibility enabled Reynolds to conceal her intercorporeal and multiracial debts. Finally, the essay argues that the presence of dancers of color in the film, most notably Rita Moreno, haunts the chains of white corporeal debt that bind Reynolds to Haney and Coyne.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42625067","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
American as Apple Pie 美国的苹果派
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-09-01 DOI: 10.1215/02705346-9052872
Erica Levin
{"title":"American as Apple Pie","authors":"Erica Levin","doi":"10.1215/02705346-9052872","DOIUrl":"https://doi.org/10.1215/02705346-9052872","url":null,"abstract":"\u0000 This brief tribute to Carolee Schneemann examines her self-conception as an American artist, considering how it intersects with the disruptive performance of gender norms in Americana I Ching Apple Pie (1972). The work was originally staged for the camera in Schneemann's London kitchen in 1972, during a period in which the artist was living in voluntary exile. She published a performance score for the piece in her artist's book Parts of a Body House (1972) and reprinted it in Cezanne She Was a Great Painter (1974–75). This essay reads Americana I Ching Apple Pie as an unruly reenactment of the highly gendered role that the filmmaker Stan Brakhage cast Schneemann to play in his short experimental film Cat's Cradle (1959). It considers the way she understood home and homeland as two interlocking fronts in the ongoing battle over how gender is encoded and enacted. It concludes by briefly considering the reception of Schneemann's work by a younger generation of artists, including Sondra Perry, who staged an homage to Americana I Ching Apple Pie in 2015.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46028984","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
Daughter of Saul, or Saul Leanya: The Gendered Place of Atrocity in László Nemes's Son of Saul 扫罗的女儿，或扫罗利亚:László内梅斯的儿子扫罗的性别暴行的地方
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-09-01 DOI: 10.1215/02705346-9052816
Szidonia Haragos
{"title":"Daughter of Saul, or Saul Leanya: The Gendered Place of Atrocity in László Nemes's Son of Saul","authors":"Szidonia Haragos","doi":"10.1215/02705346-9052816","DOIUrl":"https://doi.org/10.1215/02705346-9052816","url":null,"abstract":"\u0000 László Nemes's 2015 production, Son of Saul (Saul fia), is one of the most critically acclaimed Holocaust movies to date. The film disrupts canonical notions of visual representation of the special squads of Jewish inmates, or Sonderkommando, forced to work in the crematoria. Simultaneously, it radically re-genders an exceptional survival scene recorded as autobiographical truth by witness testimony. A young Hungarian girl's survival of a Zyklon B gassing became exceptional among other incidents of survival in Auschwitz-Birkenau due to the medical assistance offered and the resuscitation administered by the Hungarian medical doctor of the crematoria, Miklos Nyiszli. Son of Saul effectively swaps the body of this teenage girl with the body of a boy in order to re-create a foundational patrilineal story of powerful ideological impact and legitimating force. Pursuing a project of reestablishing a hegemonic male discourse over the Holocaust, the film also portrays a female inmate as one of the four women who made the 7 October 1944 Sonderkommando revolt in Auschwitz-Birkenau possible by smuggling in the explosives for the insurgents. Ella's disconcerting neediness in the film seems uniquely misplaced onto a woman tortured by the Gestapo and hanged without having betrayed her accomplices. While Son of Saul offers its own remarkably successful solutions and modes of cinematic transcendence portraying the ultimate sites of extermination, it does not convey an adequate understanding of gender relations transformed by the historical context of the Final Solution and the vital role of women in the Jewish resistance to the Nazi-orchestrated genocide.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45758503","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: 1
Breaking at the Edges: Carolee Schneemann's Desires for Dance 边缘断裂：Carolee Schneemann对舞蹈的渴望
IF 0.4 3区 艺术学
CAMERA OBSCURA Pub Date : 2021-09-01 DOI: 10.1215/02705346-9052900
Danielle Goldman
{"title":"Breaking at the Edges: Carolee Schneemann's Desires for Dance","authors":"Danielle Goldman","doi":"10.1215/02705346-9052900","DOIUrl":"https://doi.org/10.1215/02705346-9052900","url":null,"abstract":"\u0000 During the late 1950s and early 1960s, Carolee Schneemann primarily identified as a painter. But she was a keen and cutting observer of dance. This article considers Schneemann's audacious performance work for the Judson Dance Theater and reflects on its ongoing importance both at the time of her death and in a world forced apart by the novel coronavirus (COVID-19).","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47981676","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
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