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Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream.

Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.

Special issues include

"Fabulous! Divas, Part 2" (#67)
—Alexander Doty, special issue editor

"Fabulous! Divas, Part 1" (#65)
—Alexander Doty, special issue editor

"Camera Obscura at Thirty: Archiving the Past, Imagining the Future" (#61)
—Amelie Hastie, Lynne Joyrich, Constance Penley, Sasha Torres, Patricia White, and Sharon Willis, editors

"New Women of the Silent Screen: China, Japan, Hollywood" (#60)
—Catherine Russell, special issue editor

"Todd Haynes: A Magnificent Obsession" (#57)
—Amelie Hastie, Lynne Joyrich, Constance Penley, Sasha Torres, Patricia White, and Sharon Willis, editors

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Subscribers: Access Journal Online

Frequency: Three issues annually