Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 122
... Camp derived from Pop Art , which sanctioned the use of everyday objects in art and dethroned the modernist boundary ... camp TV shows like Batman and U.N.C.L.E. acquired a large following among intellectuals who normally disdained ...
... Camp derived from Pop Art , which sanctioned the use of everyday objects in art and dethroned the modernist boundary ... camp TV shows like Batman and U.N.C.L.E. acquired a large following among intellectuals who normally disdained ...
Síða 123
... camp deconstructed cultural codes , revealing them to be arbitrary . Camp is a “ seriousness that fails , ” in Sontag's words ; played perfectly straight , camp induces audiences to " see everything in quotation marks . ” Camp is not so ...
... camp deconstructed cultural codes , revealing them to be arbitrary . Camp is a “ seriousness that fails , ” in Sontag's words ; played perfectly straight , camp induces audiences to " see everything in quotation marks . ” Camp is not so ...
Síða 124
... camp . Originally a gay aesthetic , camp reveled in revealing the con- structedness of heterosexual gender codes . It placed the signs of gender identity into a performative context , displacing them from any natural or original ...
... camp . Originally a gay aesthetic , camp reveled in revealing the con- structedness of heterosexual gender codes . It placed the signs of gender identity into a performative context , displacing them from any natural or original ...
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