Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 28
... figure who occupies the cultural mantle of " artist " with difficulty , could have made such films ? In the Leni Riefenstahl critique the complexities involved in discussing this gendered artist - propagandist appear to converge on the ...
... figure who occupies the cultural mantle of " artist " with difficulty , could have made such films ? In the Leni Riefenstahl critique the complexities involved in discussing this gendered artist - propagandist appear to converge on the ...
Síða 65
... figure . She does not follow Elias as unconditionally as Eurydice followed Orpheus , she holds something back for herself ; it seems to Elias Canetti as though , under her virtuoso black lashes , she " had important things to conceal ...
... figure . She does not follow Elias as unconditionally as Eurydice followed Orpheus , she holds something back for herself ; it seems to Elias Canetti as though , under her virtuoso black lashes , she " had important things to conceal ...
Síða 104
... figure the layers of subjectification arranged around contemporary computational machines . These layers are not the sole property and projections of the psyche of the user- subject of computers , but are produced and circulated as figures ...
... figure the layers of subjectification arranged around contemporary computational machines . These layers are not the sole property and projections of the psyche of the user- subject of computers , but are produced and circulated as figures ...
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