Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 6
... direct expressivity , and with no specific meaning or emo- tional referent intended . Shattering any sense of plot and sustaining no literal interpretation , his approach to movement sequencing relies largely on chance operations . The ...
... direct expressivity , and with no specific meaning or emo- tional referent intended . Shattering any sense of plot and sustaining no literal interpretation , his approach to movement sequencing relies largely on chance operations . The ...
Síða 40
... direct connection to Nazi aesthetics and ideology , including her feature films with their romantic anticapitalism and semiotically charged use of landscape . ( 143 ) 8 Berel Lang , Act and Idea in the Nazi Genocide ( Chicago and London ...
... direct connection to Nazi aesthetics and ideology , including her feature films with their romantic anticapitalism and semiotically charged use of landscape . ( 143 ) 8 Berel Lang , Act and Idea in the Nazi Genocide ( Chicago and London ...
Síða 52
... direct the reader , and assert his support for her writing and publishing . As Elias reports , Venetiana / Veza did not try to gain her space and voice at his expense . She did not fight his work ( neither his “ grand design ” nor his ...
... direct the reader , and assert his support for her writing and publishing . As Elias reports , Venetiana / Veza did not try to gain her space and voice at his expense . She did not fight his work ( neither his “ grand design ” nor his ...
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