Camera Obscura

Papers
(The median citation count 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 2022-05-01 to 2026-05-01.)
ArticleCitations
Gift or Weapon? Reproductive Decision, the Phenomenology of Pregnancy, and Alien Language in Denis Villeneuve's Arrival12
Precarious Hours: Contingency and the Temporality of Live Streaming10
Feminist Observation: The Case of Un processo per stupro ( A Trial for Rape , 1979)8
A Comparative History of Wartime Queer Female Directors: Dorothy Arzner, Sakane Tazuko, and Esther Eng1
“All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films1
Bodies in Water: Disability Cinemas and Creatures of the Sea1
The Reserve Army of Affectivity: Unemployed Labor in William Greaves's Psychodramatic Cinéma Vérité1
Glimpsing Angie Xtravaganza: The Trans Latinx Imaginary of Paris Is Burning1
Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior1
John Waters's Vulgarity: Trash Cinema, Serial Mom, and the Politics of Abjection1
Imagining Television as a Vital Queer Medium: Riot1
“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
Just Be There: Ethics and Aesthetics of the Surface in Mike Mills's 20th Century Women0
Regretting Nothing, or Regretting Everything? Postfeminism, Femininity, and Regret in Miss Austen Regrets0
What's Your Color? Mood Conditioning the Postwar Domestic Interior0
“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville0
Self-Suspension in Frames: Hito Steyerl's Lovely Andrea0
Disjunct Collectivity: Women Photographers of 1960s – 1970s Japan0
The Leaves Are Stirring (1948)0
Viola Liuzzo / Heather Heyer: Mediating the Antiracist White Female Martyr0
Tumbling Backward: Scrolling, Temporality, and One Direction Fan Narratives on Tumblr0
Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm0
Watching Women: Surveillance and Spectatorship in Early Science Fiction Television0
Incestuous Wanderlust: 35 Shots of Rum's Atmospheres of Circulation0
The Comedy of Chris E. Vargas: Trans Play at the Tipping Point0
“Nudes Are the Currency of Love”: Euphoria's Theory of Pornography0
Framing Carceral and Cinematic Time0
Nguyễn Trinh Thi's Landscape Series #1 (2013) and the Limits of Search and Destroy0
Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture0
Editorial Office Workers’ Statement Regarding the UC System-Wide Strike0
Calculating Couples: Computing Intimacy and 1980s Romance Software0
Facing Death, Choosing Life: Pose's Positive Historiography0
Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability0
Archaeological Narrative; or, Nostalgic Fascination with the Obsolete in the South Korean TV Drama Reply 19880
Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines0
Pleasure Aesthetics: On the Art of Mika Rottenberg0
Not New to This: A Genealogical Approach to Black Girls’ Media Production0
Appear to Disappear: Blackness, Affect, and the Political Imaginary0
Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist0
Love Is Elsewhere: Neoliberalism and the Tourist Romance0
No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman0
Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet0
Castle & Crook: Necroliberalism and Cartographies of Abandonment in Maquilapolis (City of Factories) and Señorita Extraviada (Missing Young Woman)0
Toward a Feminist Fourth Cinema: Waru (2017)0
Her Body, Her Choice: Tough Girl Affect, Trump Support, and the 2020 Pandemic0
Aromantic Comedy: The Aro/Ace Aesthetics of Together Together0
Archiving Feeling in Yvonne Rainer's Journeys from Berlin/19710
Cinema, Taliban, and Being a Woman in Today's Afghanistan: An Interview with Sahraa Karimi0
“This Is Not a Performance”: Coming-Out Videos, LGBTQ+ Microcelebrity, and the Tenuous Rise of New Queer YouTube0
From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative0
A Problem of Fit: Athina Rachel Tsangari and Greek “Weird Wave” Cinema0
Green's Clues, or What's Queer about Clue?0
Chantal Akerman and the Cinéfille0
Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)0
Nonmaterial Overelaboration: Gender, Casting, and Camouflaged Labor in Pat Rocco's Promotional Travelogue0
Surviving the Reset: Speedrunning Spyro, Trans Mundanity, and Playing in the Impasse0
The Perverted Ancestry of the Antiheroine: Bad Mothers and Unruly Daughters in Sharp Objects and Mare of Easttown0
Art on Film at Finch College: Reproductive Labor in the Enrichment Economy0
Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations0
Pandemic Stasis and Nonlinear Memory in Palestinian Short Films0
“The very palpitation of life!”: “The Leaves Are Stirring” in Context0
How the Computer Taught Us to See0
Their Bodies, Their Selves: Reflexivity and Embodiment in 2010s Women's Autobiographical Author-Performer TV Dramedies0
The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 20490
Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics0
Forever Opaque: Glissant, Laplanche, and Return to Seoul0
Sexual and Intersectional: Region, Family, Disability, and Lived Experience in Lee Chang-dong's Oasis0
Looking for Something New: Antonioni's La notte and Specters of Femininity0
Revisiting Queer and Trans Representation in Junior0
Yellowness as Transpacific Technology: Cinematic Regimes of Race between Japan and Brazil0
The Feminist Refusal of I May Destroy You0
India's Daughter: It Is Time to Retire the Realist Rape Documentary0
The Leftovers of Conspiracy: The Deformed Gazes of Under the Silver Lake0
“Waiting for the Night to Come”: Time, Opacity, and the Daughter's Seduction in Aftersun0
On Education as Formal Violence: Learning Girlhood through Cinema's Curriculum of Reformation0
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