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Síða 71
Clay and Vincent boast not only highly contrastive skin ( marked visually by McGehee and Siegel's black and white film ... Only the audience is free from this blindness , propelled into a hyper - awareness of the visual as an insistent ...
Clay and Vincent boast not only highly contrastive skin ( marked visually by McGehee and Siegel's black and white film ... Only the audience is free from this blindness , propelled into a hyper - awareness of the visual as an insistent ...
Síða 13
It thereby suggests again that one of the languages in which the body is " written " is visual . But “ visual ” is a large and amor- phous category , which would seem to require further qualification . This sequence provides the ...
It thereby suggests again that one of the languages in which the body is " written " is visual . But “ visual ” is a large and amor- phous category , which would seem to require further qualification . This sequence provides the ...
Síða 44
Considered in this context , I interpret the final image of tearing the photograph not as a cynical gesture about visual produc- tion as a whole , but as Anna's rejection of the illusions about visual mastery which have plagued her ...
Considered in this context , I interpret the final image of tearing the photograph not as a cynical gesture about visual produc- tion as a whole , but as Anna's rejection of the illusions about visual mastery which have plagued her ...
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