Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 20
Berkeley Journal for Theoretical Studies in Media and Culture. Leni Riefenstahl : The Power of the Image Catherine M. Soussloff and Bill Nichols We are in the presence of ... Leni Riefenstahl: The Power of the Image Soussloff and Bill ...
Berkeley Journal for Theoretical Studies in Media and Culture. Leni Riefenstahl : The Power of the Image Catherine M. Soussloff and Bill Nichols We are in the presence of ... Leni Riefenstahl: The Power of the Image Soussloff and Bill ...
Síða 32
... Leni Riefenstahl - prefigure what has yet to come ( Nazi triumph ) as they present what is currently taking place ... Leni Riefenstahl , the opening descriptive montage of “ behind the scenes " images of Riefenstahl directing Triumph of ...
... Leni Riefenstahl - prefigure what has yet to come ( Nazi triumph ) as they present what is currently taking place ... Leni Riefenstahl , the opening descriptive montage of “ behind the scenes " images of Riefenstahl directing Triumph of ...
Síða 39
... Leni Riefenstahl and titled Memoiren . It was published in translation in Great Britain under the title The Sieve of Time ( Quartet , 1992 ) . 3 As representative examples of the Leni Riefenstahl critique , in addi- tion to those cited ...
... Leni Riefenstahl and titled Memoiren . It was published in translation in Great Britain under the title The Sieve of Time ( Quartet , 1992 ) . 3 As representative examples of the Leni Riefenstahl critique , in addi- tion to those cited ...
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