Discourse, Bindi 13Indiana University Press, 1991 |
From inside the book
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Síða 60
... spectator identifies with the active and desiring male subject as well as with the passive and fetishized object of his gaze . Tania Modleski also emphasizes the female spectator's shifting identifications . She suggests that ...
... spectator identifies with the active and desiring male subject as well as with the passive and fetishized object of his gaze . Tania Modleski also emphasizes the female spectator's shifting identifications . She suggests that ...
Síða 78
... spectator by the cinematic apparatus ) . In this sense , the shot acknowledges the film's complicity with the specular logic of the mirror phase as defined by Lacanian psychoanalysis . The film structures the spectator's gaze according ...
... spectator by the cinematic apparatus ) . In this sense , the shot acknowledges the film's complicity with the specular logic of the mirror phase as defined by Lacanian psychoanalysis . The film structures the spectator's gaze according ...
Síða 79
... spectators as well . In this way , the film insures that the spectatorial subject will be satisfied that it has been adequately reflected on the screen . The spectator's subjective engagement with the film guarantees the production of ...
... spectators as well . In this way , the film insures that the spectatorial subject will be satisfied that it has been adequately reflected on the screen . The spectator's subjective engagement with the film guarantees the production of ...
Efni
Introduction | 3 |
A Dossier a Performance Piece a LittleUnderstood Emotion | 12 |
The Language of Expression on Natures Stage | 40 |
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