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Síða 79
Touch Cinema's structure is confrontational precisely be- cause it courts threat in order to attempt to master and reverse it . The ambivalence of the female body in film and in real life is at issue in Touch Cinema .
Touch Cinema's structure is confrontational precisely be- cause it courts threat in order to attempt to master and reverse it . The ambivalence of the female body in film and in real life is at issue in Touch Cinema .
Síða 81
is a space of negotiation , in which the objectification of women's bodies and its attendant threat is neutralized , a move which is necessary precisely because one can never know in advance where that threat will come from .
is a space of negotiation , in which the objectification of women's bodies and its attendant threat is neutralized , a move which is necessary precisely because one can never know in advance where that threat will come from .
Síða 13
This is precisely one of the strong arguments made by Edouard Glissant that I try to take advantage of in Local Histories / Global Designs . Thus , rather than " the teaching of literature " I would tend to think - and actually I ...
This is precisely one of the strong arguments made by Edouard Glissant that I try to take advantage of in Local Histories / Global Designs . Thus , rather than " the teaching of literature " I would tend to think - and actually I ...
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| Titill | Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Útgáfa 22 Discourse: Berkeley journal for theoretical studies in media and culture, University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Framlag frá | University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Útgefandi | Indiana University Press, 2000 |
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