Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 13
Síða 95
... Finsterlicht's situation- " immobilized , too old , weak , tied hand to foot " and yet constantly stimulated by carefully programmed images of pleasure , success , adventure and even escape - stands for the most general outcome of ...
... Finsterlicht's situation- " immobilized , too old , weak , tied hand to foot " and yet constantly stimulated by carefully programmed images of pleasure , success , adventure and even escape - stands for the most general outcome of ...
Síða 106
... Finsterlicht's body decodes the flows of images , drugs , and neural stimuli to which it is connected and begins to propagate increasingly decoded flows and code fragments back into the networks through the interface . Each time the ...
... Finsterlicht's body decodes the flows of images , drugs , and neural stimuli to which it is connected and begins to propagate increasingly decoded flows and code fragments back into the networks through the interface . Each time the ...
Síða 107
... Finsterlicht's bed - bound body , the hybrid of Gerontomat and flesh which resisted one kind of death is left behind . But at the same time , the ideal form which homeostatically maintained this almost infantile helplessness fragments ...
... Finsterlicht's bed - bound body , the hybrid of Gerontomat and flesh which resisted one kind of death is left behind . But at the same time , the ideal form which homeostatically maintained this almost infantile helplessness fragments ...
Efni
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
5 aðrir hlutar ekki sýndir
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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