Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 74
... African women feminists from Western feminists " ( 82 ) . In effect , Turrittin is suggesting that African feminists do not privilege gender as the primary site of struggle , but rather regard it as equal to race , class , colonial and ...
... African women feminists from Western feminists " ( 82 ) . In effect , Turrittin is suggesting that African feminists do not privilege gender as the primary site of struggle , but rather regard it as equal to race , class , colonial and ...
Síða 75
... African films . Davies offers several pertinent criteria in demonstrating the difference between African and Western feminism . She recognizes that men and women in Africa are united in a common struggle for liberation from domination ...
... African films . Davies offers several pertinent criteria in demonstrating the difference between African and Western feminism . She recognizes that men and women in Africa are united in a common struggle for liberation from domination ...
Síða 86
... African feminism recognizes that “ African societies are ancient societies , so logically , African women must have addressed the problems of women's position in society historically . In this regard there already exist , in some ...
... African feminism recognizes that “ African societies are ancient societies , so logically , African women must have addressed the problems of women's position in society historically . In this regard there already exist , in some ...
Efni
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
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action aesthetic African already appears artist attempt Avengers become begins body called camp Canetti characters cinema computational connection constitutes construction contemporary continued corporeal create critical critique cultural death desire difference direct discourse distinction effects Elias Emma escape example expression fact fantasies female feminine feminism feminist figure film Finsterlicht's forced Foreword function gender German gives historical identity issues Kino International Leni Riefenstahl living look machine male materiality matter meaning narrative Nazi never Notes object offers performance physical play political position possible practices present production propaganda prostitute question reading relation remain representation response returns Riefenstahl roles sexual shame signifier signs situation social society space specific story Street structure struggle suggests takes television thing traditional Veza voice Western woman women writes York