Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 45
... appears to have been the last during her lifetime.5 Venetiana Taubner - Calderon wrote and published before her marriage in 1934 to Elias Canetti , and before their joint emigration to Paris and London in 1938/39 . We know of Having the ...
... appears to have been the last during her lifetime.5 Venetiana Taubner - Calderon wrote and published before her marriage in 1934 to Elias Canetti , and before their joint emigration to Paris and London in 1938/39 . We know of Having the ...
Síða 70
... appears to have been severed from any context and become questionable ; . . . frequently an almost airless , glassy space ; the obvious composition of the picture out of various details , not forming an organic whole , —the mosaic ...
... appears to have been severed from any context and become questionable ; . . . frequently an almost airless , glassy space ; the obvious composition of the picture out of various details , not forming an organic whole , —the mosaic ...
Síða 126
... appear ridiculously outmoded . Von Schnerk is a megalomaniac whose name appears three times in the credits : a film created by Z.Z. Von Schnerk , written by Z.Z. Von Schnerk , and directed by Z.Z. Von Schnerk . Like many silent films ...
... appear ridiculously outmoded . Von Schnerk is a megalomaniac whose name appears three times in the credits : a film created by Z.Z. Von Schnerk , written by Z.Z. Von Schnerk , and directed by Z.Z. Von Schnerk . Like many silent films ...
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