Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 118
... Avengers . That's the show I watch . I love that show ! She's the only strong woman on television ” ( 8-9 ) . The Avengers articulated fantasies of female power within patri- archal society . Its lineage can be traced back to serial ...
... Avengers . That's the show I watch . I love that show ! She's the only strong woman on television ” ( 8-9 ) . The Avengers articulated fantasies of female power within patri- archal society . Its lineage can be traced back to serial ...
Síða 126
... Avengers 126 ) In showing that women could possess the phallus , The Avengers suggested that traditional gender representations had become ob- solete . By the 1960s , the classical studio system of Hollywood and its idealized ...
... Avengers 126 ) In showing that women could possess the phallus , The Avengers suggested that traditional gender representations had become ob- solete . By the 1960s , the classical studio system of Hollywood and its idealized ...
Síða 135
... Avengers to Miami Vice : Form and Ideology in Television Series . Manchester : Manchester UP , 1990 . Butler ... Avengers . London : ITV in association with Michael Joseph , 1983 . The Complete Avengers . New York : St. Martin's , 1989 ...
... Avengers to Miami Vice : Form and Ideology in Television Series . Manchester : Manchester UP , 1990 . Butler ... Avengers . London : ITV in association with Michael Joseph , 1983 . The Complete Avengers . New York : St. Martin's , 1989 ...
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