Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 7
... action , " which they considered to be the most en- joyable ones of the performance . Occurring in between two actions , these are the moments when both music and the actor's movements come to a stop . Yet , instead of slackening while ...
... action , " which they considered to be the most en- joyable ones of the performance . Occurring in between two actions , these are the moments when both music and the actor's movements come to a stop . Yet , instead of slackening while ...
Síða 9
... actions . Far from being merely “ a man of action , " as Grotowski defines him , the Performer is here also a person of no - action . Or , at least , the kind of ( spiritual ) “ action ” involved in such moments of ( physical ) no - action ...
... actions . Far from being merely “ a man of action , " as Grotowski defines him , the Performer is here also a person of no - action . Or , at least , the kind of ( spiritual ) “ action ” involved in such moments of ( physical ) no - action ...
Síða 133
... action scenes . Instead of " masculine " martial arts , Tara relied more on " feminine guile ” and conventional feminine tactics : " Tara didn't go in for Karate but fought more like a girl , " Thorson recalled , " scratching , kicking ...
... action scenes . Instead of " masculine " martial arts , Tara relied more on " feminine guile ” and conventional feminine tactics : " Tara didn't go in for Karate but fought more like a girl , " Thorson recalled , " scratching , kicking ...
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