Camera Obscura 19.3 (2004) 220-221
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Volume 19 corresponds to issues 55-57.
Dead Woman Glowing: Karla Faye Tucker and the Aesthetics of Death Row Photography. No. 55; pp. 1-41.
Beyond the Gaze: Visual Fascination and the Feminine Image in Silent Hitchcock. No. 55; pp. 77-111.
Some Kind of Grace: An Interview with Miranda July. No. 55; pp. 181-97.
Of Housewives and Saints: Abjection, Transgression, and Impossible Mourning in Poison and Safe. No. 57; pp. 93-123.
The Incredible Shrinking Star: Todd Haynes and the Case History of Karen Carpenter. No. 57; pp. 23-55.
Hook and Eye: Violence and the Captive Gaze. No. 56; pp. 75-103.
Mary Ann Doane
Pathos and Pathology: The Cinema of Todd Haynes. No. 57; pp. 1-21. [End Page 220]
Envisioning the (W)hole World "Behind Things": Denying Otherness in American Beauty. No. 55; pp. 113-49.
Grainy Days and Mondays: Superstar and Bootleg Aesthetics. No. 57; pp. 57-91.
Written on the Screen: Mediation and Immersion in Far from Heaven. No. 57; pp. 187-219.
The Legend of the White-and-Yellow Black Man: Global Containment and Triangulated Racial Desire in Romeo Must Die. No. 55; pp. 151-79.
Free Indirect Affect in Cassavetes' Opening Night and Faces. No. 56; pp. 105-39.
Charles I. Nero
Diva Traffic and Male Bonding in Film: Teaching Opera, Learning Gender, Race, and Nation. No. 56; pp. 47-73.
Edward R. O'Neill
Traumatic Postmodern Histories: Velvet Goldmine's Phantasmatic Testimonies. No. 57; pp. 157-85.
Dangerous Spaces: Safe. No. 57; pp. 125-55.
Lois Weber, Progressive Cinema, and the Fate of "The Work-a-Day Girl" in Shoes. No. 56; pp. 141-69.
E. Kim Stone
Recovering the Lone Mother: Howards End as Aesthetic Anodyne. No. 55; pp. 43-75.
Peter (A Young English Girl): Visualizing Transgender Masculinities. No. 56; pp. 1-45.