Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 20
Síða 29
... historical process and adopted the determined demeanor of the independent artisanal cineaste , at odds with the ... historical involving the reception and interpretation of her works ; one theoretical involving the construction of her ...
... historical process and adopted the determined demeanor of the independent artisanal cineaste , at odds with the ... historical involving the reception and interpretation of her works ; one theoretical involving the construction of her ...
Síða 32
... historical consequences that followed from it . Similarly , in Müller's The Wonderful , Horrible Life of Leni Riefenstahl , the opening descriptive montage of “ behind the scenes " images of Riefenstahl directing Triumph of the Will ...
... historical consequences that followed from it . Similarly , in Müller's The Wonderful , Horrible Life of Leni Riefenstahl , the opening descriptive montage of “ behind the scenes " images of Riefenstahl directing Triumph of the Will ...
Síða 42
... historical referent ( between shots of Hitler filmed at the rally and Hitler himself as a historical actor ) carries a tremendous punch that a fictional image would lack . We recognize him and his associates as historical figures and ...
... historical referent ( between shots of Hitler filmed at the rally and Hitler himself as a historical actor ) carries a tremendous punch that a fictional image would lack . We recognize him and his associates as historical figures and ...
Efni
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
5 aðrir hlutar ekki sýndir
Aðrar útgáfur - View all
Common terms and phrases
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