Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 14
Síða 43
... Fantasies 1 : Women , Floods , Bodies , History and Male Fantasies 2 : Male Bodies : Psychoanalyzing the White Terror , trans . Erica Carter and Chris Turner ( Minneapolis : U of Minnesota P , 1989 ) . This is a distinct tack from that ...
... Fantasies 1 : Women , Floods , Bodies , History and Male Fantasies 2 : Male Bodies : Psychoanalyzing the White Terror , trans . Erica Carter and Chris Turner ( Minneapolis : U of Minnesota P , 1989 ) . This is a distinct tack from that ...
Síða 94
... Fantasy and utility are cross - grafted.5 Seemingly , the machine itself , as if there were any such thing , constantly withdraws amidst the surfeit of fantasies , projections , and images that envelop it . As a hypertrophied example of ...
... Fantasy and utility are cross - grafted.5 Seemingly , the machine itself , as if there were any such thing , constantly withdraws amidst the surfeit of fantasies , projections , and images that envelop it . As a hypertrophied example of ...
Síða 112
... fantasies of possessing " masculine " power and indepen- dence are part of an important but little known film genre ... fantasies of female mastery and autonomy . These fantasies have their roots in childhood . Writes Jessica Benjamin ...
... fantasies of possessing " masculine " power and indepen- dence are part of an important but little known film genre ... fantasies of female mastery and autonomy . These fantasies have their roots in childhood . Writes Jessica Benjamin ...
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