Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 23
Síða 64
... death could be raised to a higher power . Or , as though death did not come to Runkel because such a grotesque creature can only be killed by a multiple death . Such a death does not exist . Nor does death allow itself to be fooled ...
... death could be raised to a higher power . Or , as though death did not come to Runkel because such a grotesque creature can only be killed by a multiple death . Such a death does not exist . Nor does death allow itself to be fooled ...
Síða 66
... death , against castration . " In the underworld , voice is allowed , but it is Orpheus who sings , it is his text everyone listens to , and even the damned are redeemed of their agony as long as Orpheus sings . In " Comedy of Vanity ...
... death , against castration . " In the underworld , voice is allowed , but it is Orpheus who sings , it is his text everyone listens to , and even the damned are redeemed of their agony as long as Orpheus sings . In " Comedy of Vanity ...
Síða 100
... death : one figured as the obsolescence or displacement of a particular form of embodiment rather than of ... death that Finsterlicht senses expresses nothing other than the relation to death associated with the ma- chine ? Derrida ...
... death : one figured as the obsolescence or displacement of a particular form of embodiment rather than of ... death that Finsterlicht senses expresses nothing other than the relation to death associated with the ma- chine ? Derrida ...
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