Camera Obscura

Papers
(The TQCC of Camera Obscura is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-06-01 to 2026-06-01.)
ArticleCitations
Gift or Weapon? Reproductive Decision, the Phenomenology of Pregnancy, and Alien Language in Denis Villeneuve's Arrival10
Precarious Hours: Contingency and the Temporality of Live Streaming8
Feminist Observation: The Case of Un processo per stupro ( A Trial for Rape , 1979)2
“A More Personal Look at Her Life”: Family Narrative, Gender, and Transnational Memories in The Girl and the Picture1
Petting the Rabbit: The Favourite (2018), Anti-heritage, and the Search for Lesbians in the Past1
John Waters's Vulgarity: Trash Cinema, Serial Mom, and the Politics of Abjection1
Bodies in Water: Disability Cinemas and Creatures of the Sea1
“Try To Remember/The Way We Were”1
A Comparative History of Wartime Queer Female Directors: Dorothy Arzner, Sakane Tazuko, and Esther Eng1
Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior1
Glimpsing Angie Xtravaganza: The Trans Latinx Imaginary of Paris Is Burning1
“All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films1
Forever Opaque: Glissant, Laplanche, and Return to Seoul0
The Comedy of Chris E. Vargas: Trans Play at the Tipping Point0
Toward a Feminist Fourth Cinema: Waru (2017)0
Framing Carceral and Cinematic Time0
Self-Suspension in Frames: Hito Steyerl's Lovely Andrea0
Pandemic Stasis and Nonlinear Memory in Palestinian Short Films0
Editorial Office Workers’ Statement Regarding the UC System-Wide Strike0
“Fluid in All Aspects, Except for Race”: Black Faces and the Limits of Abstraction0
How the Computer Taught Us to See0
Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines0
The Leftovers of Conspiracy: The Deformed Gazes of Under the Silver Lake0
Viola Liuzzo / Heather Heyer: Mediating the Antiracist White Female Martyr0
Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability0
Surviving the Reset: Speedrunning Spyro, Trans Mundanity, and Playing in the Impasse0
No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman0
Calculating Couples: Computing Intimacy and 1980s Romance Software0
Amanda Williams's Color(ed) Theory and Other Ideas to Live Nearby0
Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet0
Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture0
Trans Abstractions, Decomposing Figurations: Young Joon Kwak and Kiyan Williams0
Nguyễn Trinh Thi's Landscape Series #1 (2013) and the Limits of Search and Destroy0
Cinema, Taliban, and Being a Woman in Today's Afghanistan: An Interview with Sahraa Karimi0
The Ecstasy of Abstract Animation: Ja'Tovia Gary's An Ecstatic Experience0
The Future of Next Wednesday Night: Douglas Crimp's Queer Planning in an Early Year of AIDS0
Archiving Feeling in Yvonne Rainer's Journeys from Berlin/19710
Introduction: The Matter of Abstraction: Race, Gender, and Sexuality in Contemporary Experimental Film and the Arts0
Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm0
“This Is Not a Performance”: Coming-Out Videos, LGBTQ+ Microcelebrity, and the Tenuous Rise of New Queer YouTube0
Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations0
Nonmaterial Overelaboration: Gender, Casting, and Camouflaged Labor in Pat Rocco's Promotional Travelogue0
Castle & Crook: Necroliberalism and Cartographies of Abandonment in Maquilapolis (City of Factories) and Señorita Extraviada (Missing Young Woman)0
The Perverted Ancestry of the Antiheroine: Bad Mothers and Unruly Daughters in Sharp Objects and Mare of Easttown0
Love Is Elsewhere: Neoliberalism and the Tourist Romance0
Escape from the Medically Abstract: Jeamin Cha's Nameless Syndrome and Its Dissociative Narrative0
“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville0
Art on Film at Finch College: Reproductive Labor in the Enrichment Economy0
“Waiting for the Night to Come”: Time, Opacity, and the Daughter's Seduction in Aftersun0
Archaeological Narrative; or, Nostalgic Fascination with the Obsolete in the South Korean TV Drama Reply 19880
Just Be There: Ethics and Aesthetics of the Surface in Mike Mills's 20th Century Women0
Luma's Labor: British New Realism and the Intersections of Class, Gender, and Animal Rights in Andrea Arnold's Documentary Cow0
A Problem of Fit: Athina Rachel Tsangari and Greek “Weird Wave” Cinema0
Appear to Disappear: Blackness, Affect, and the Political Imaginary0
India's Daughter: It Is Time to Retire the Realist Rape Documentary0
Yellowness as Transpacific Technology: Cinematic Regimes of Race between Japan and Brazil0
Their Bodies, Their Selves: Reflexivity and Embodiment in 2010s Women's Autobiographical Author-Performer TV Dramedies0
Aromantic Comedy: The Aro/Ace Aesthetics of Together Together0
Sexual and Intersectional: Region, Family, Disability, and Lived Experience in Lee Chang-dong's Oasis0
Refusal of/as Form: American Artist, A Refusal (2015–16), Looted (2020)0
Watching Women: Surveillance and Spectatorship in Early Science Fiction Television0
“The very palpitation of life!”: “The Leaves Are Stirring” in Context0
“Nudes Are the Currency of Love”: Euphoria's Theory of Pornography0
The Feminist Refusal of I May Destroy You0
What's Your Color? Mood Conditioning the Postwar Domestic Interior0
Revisiting Queer and Trans Representation in Junior0
Green's Clues, or What's Queer about Clue?0
The Leaves Are Stirring (1948)0
Disjunct Collectivity: Women Photographers of 1960s – 1970s Japan0
A Mode of Production Is Born: The Amphimixis of Eroticisms in Eisenstein's Old and New0
Facing Death, Choosing Life: Pose's Positive Historiography0
Regretting Nothing, or Regretting Everything? Postfeminism, Femininity, and Regret in Miss Austen Regrets0
Chantal Akerman and the Cinéfille0
On Education as Formal Violence: Learning Girlhood through Cinema's Curriculum of Reformation0
Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)0
Pleasure Aesthetics: On the Art of Mika Rottenberg0
Imagining Television as a Vital Queer Medium: Riot0
Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics0
From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative0
The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 20490
Her Body, Her Choice: Tough Girl Affect, Trump Support, and the 2020 Pandemic0
0.027288913726807