Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 21
Síða 25
... aesthetics " ( 316 ) . For Sontag it is less historical specificity than a quintessential aesthetic that allows Riefenstahl's films and photographs to be labelled " fascist . " Detached from a particular ( Nazi ) regime , they come to ...
... aesthetics " ( 316 ) . For Sontag it is less historical specificity than a quintessential aesthetic that allows Riefenstahl's films and photographs to be labelled " fascist . " Detached from a particular ( Nazi ) regime , they come to ...
Síða 33
... aesthetic involvement or propagandistic mobilization . We move from silence to witness , from shock to outrage , and from a self that passes aesthetic or pragmatic judgment in the moment to a self whose judgment becomes inextricably ...
... aesthetic involvement or propagandistic mobilization . We move from silence to witness , from shock to outrage , and from a self that passes aesthetic or pragmatic judgment in the moment to a self whose judgment becomes inextricably ...
Síða 122
... aesthetic which took television by storm . Camp derived from Pop Art , which sanctioned the use of everyday objects ... aesthetic , arguing for the validity of popular pleasures over traditional canons of aesthetic taste like “ truth ...
... aesthetic which took television by storm . Camp derived from Pop Art , which sanctioned the use of everyday objects ... aesthetic , arguing for the validity of popular pleasures over traditional canons of aesthetic taste like “ truth ...
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