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 2022-05-01 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
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
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
Aromantic Comedy: The Aro/Ace Aesthetics of Together Together0
Her Body, Her Choice: Tough Girl Affect, Trump Support, and the 2020 Pandemic0
Cinema, Taliban, and Being a Woman in Today's Afghanistan: An Interview with Sahraa Karimi0
Archiving Feeling in Yvonne Rainer's Journeys from Berlin/19710
From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative0
“This Is Not a Performance”: Coming-Out Videos, LGBTQ+ Microcelebrity, and the Tenuous Rise of New Queer YouTube0
A Problem of Fit: Athina Rachel Tsangari and Greek “Weird Wave” Cinema0
Green's Clues, or What's Queer about Clue?0
Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)0
Chantal Akerman and the Cinéfille0
Surviving the Reset: Speedrunning Spyro, Trans Mundanity, and Playing in the Impasse0
Nonmaterial Overelaboration: Gender, Casting, and Camouflaged Labor in Pat Rocco's Promotional Travelogue0
Art on Film at Finch College: Reproductive Labor in the Enrichment Economy0
The Perverted Ancestry of the Antiheroine: Bad Mothers and Unruly Daughters in Sharp Objects and Mare of Easttown0
Pandemic Stasis and Nonlinear Memory in Palestinian Short Films0
Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations0
How the Computer Taught Us to See0
“The very palpitation of life!”: “The Leaves Are Stirring” in Context0
The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 20490
Their Bodies, Their Selves: Reflexivity and Embodiment in 2010s Women's Autobiographical Author-Performer TV Dramedies0
Forever Opaque: Glissant, Laplanche, and Return to Seoul0
Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics0
Looking for Something New: Antonioni's La notte and Specters of Femininity0
Sexual and Intersectional: Region, Family, Disability, and Lived Experience in Lee Chang-dong's Oasis0
Yellowness as Transpacific Technology: Cinematic Regimes of Race between Japan and Brazil0
Revisiting Queer and Trans Representation in Junior0
India's Daughter: It Is Time to Retire the Realist Rape Documentary0
The Feminist Refusal of I May Destroy You0
The Leftovers of Conspiracy: The Deformed Gazes of Under the Silver Lake0
On Education as Formal Violence: Learning Girlhood through Cinema's Curriculum of Reformation0
“Waiting for the Night to Come”: Time, Opacity, and the Daughter's Seduction in Aftersun0
Regretting Nothing, or Regretting Everything? Postfeminism, Femininity, and Regret in Miss Austen Regrets0
Just Be There: Ethics and Aesthetics of the Surface in Mike Mills's 20th Century Women0
“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville0
What's Your Color? Mood Conditioning the Postwar Domestic Interior0
Disjunct Collectivity: Women Photographers of 1960s – 1970s Japan0
Self-Suspension in Frames: Hito Steyerl's Lovely Andrea0
Viola Liuzzo / Heather Heyer: Mediating the Antiracist White Female Martyr0
The Leaves Are Stirring (1948)0
Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm0
Tumbling Backward: Scrolling, Temporality, and One Direction Fan Narratives on Tumblr0
Incestuous Wanderlust: 35 Shots of Rum's Atmospheres of Circulation0
Watching Women: Surveillance and Spectatorship in Early Science Fiction Television0
“Nudes Are the Currency of Love”: Euphoria's Theory of Pornography0
The Comedy of Chris E. Vargas: Trans Play at the Tipping Point0
Nguyễn Trinh Thi's Landscape Series #1 (2013) and the Limits of Search and Destroy0
Framing Carceral and Cinematic Time0
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
Archaeological Narrative; or, Nostalgic Fascination with the Obsolete in the South Korean TV Drama Reply 19880
Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability0
Pleasure Aesthetics: On the Art of Mika Rottenberg0
Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines0
Appear to Disappear: Blackness, Affect, and the Political Imaginary0
Not New to This: A Genealogical Approach to Black Girls’ Media Production0
Love Is Elsewhere: Neoliberalism and the Tourist Romance0
Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist0
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
Toward a Feminist Fourth Cinema: Waru (2017)0
Castle & Crook: Necroliberalism and Cartographies of Abandonment in Maquilapolis (City of Factories) and Señorita Extraviada (Missing Young Woman)0
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