Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 7
... example a gesture , which is beau- tiful in itself , is also a gateway to something else . Yugen , translated as the Unfathomable , is often used to suggest the profound and remote as well as the tranquil and elegant : the aspects of ...
... example a gesture , which is beau- tiful in itself , is also a gateway to something else . Yugen , translated as the Unfathomable , is often used to suggest the profound and remote as well as the tranquil and elegant : the aspects of ...
Síða 21
... example , when Riefen- stahl insists that none of the actors involved in her film Tiefland were exploited , Müller's film shows us a document that appears to be an official list of names from a Nazi concentration camp . At another point ...
... example , when Riefen- stahl insists that none of the actors involved in her film Tiefland were exploited , Müller's film shows us a document that appears to be an official list of names from a Nazi concentration camp . At another point ...
Síða 24
... example , Tri- umph of the Will has been divorced from questions of its immediate use in Nazi Germany or its effect on German audiences from 1935 through the end of World War II , it has often been claimed as timeless art . This is the ...
... example , Tri- umph of the Will has been divorced from questions of its immediate use in Nazi Germany or its effect on German audiences from 1935 through the end of World War II , it has often been claimed as timeless art . This is the ...
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